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The Aesthetics symptoms of architectural form: The case of the Rachofsky

house by Richard Meier

Conference Paper · October 2023

DOI: 10.31462/icearc.2023.har603

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Proceedings of 3rd International Civil Engineering and Architecture Congress (ICEARC’23)
DOI 10.31462/icearc.2023.har603

The Aesthetics symptoms of architectural form: The case of the

Rachofsky house by Richard Meier

Saleem M. Dahabreh1*, Nancy AlAssaf1 , Deyala Altarawneh1, Hassan Isawi1

1 University of Jordan, Dept. of Architecture, School of engineering, Amman, Jordan

Abstract

Purpose: In this paper, we address the question of when architectural form becomes aesthetically distinctive. The
theoretical foundation of this paper is Nelson Goodman's exemplification, density, and completeness as essential
symptoms of any work of art. This philosophical view is introduced to architecture in order to reveal how aesthetics
can be rationally inferred from these three symptoms.
Study design/methodology/approach: The paper focuses on Richard Meier's Rachofsky house, where the house's
formal language is considered a work of art in addition to its architectural function. Using morphological analysis and
analytical drawings, three symptoms of aesthetics are identified within the form of the building.
Findings: The paper concluded that a densely syntactic design language, semantically dense content, and a
comprehensive design process are characteristics of aesthetically pleasing architectural design.
Originality/value: Although this study is limited to a single case study, its significance lies in what it tells us about
architecture itself: it has the ability to explain how the formal properties of a building arise from the relational
properties of its constituent parts within an overall structure. Furthermore, the resulting physical form cannot be
assessed in terms of its inherent goodness or badness, as it doesn't align with any subjective notions of beauty, style, or
personal taste. Instead, it serves as an expression of an intellectual formal logic that can be experienced and
appreciated. Finally, while the aesthetic experience of any architectural work is intimately linked to its visual qualities,
its understanding becomes a heightening of experience that transcends the visual world to address issues of embedded
order and harmony. Moreover, this paper plays an important role in architectural pedagogy where it provides a rational
base for aesthetic education with an explanation in design studios.

Keywords: aesthetic symptoms, logical form, morphological analysis, formal language.

1. Introduction
The distinction between a building and architecture has been a fundamental aspect of architectural design
theories from Vitruvius to the present. Building is the practical translation of socioeconomic factors
and functional requirements into a material or physical structures (Winters, 2002; Hendrix, 2012). On the
other hand, for most architectural theories, architecture is more concerned with the aesthetic appeal and
the creative process of coming up with a unique artistic form, thus transcending a building's physical
existence (Pevsner, 1945; Norberg-Schulz, 1965). Thus, it is appropriate to describe architecture as the
"art of form" (Robinson, 1908) and "formation of knowledge" (Tschumi, 1996). Nevertheless, Eisenman
(1999) suggests that the visible or perceptible form emerges from a deeper conceptual level through
specific transformations. Eisenman draws from Chomsky's 'trace theory' (1976), in which the underlying
structure of a sentence can be interpreted through traces from the surface structure via a process of
abstraction. Consequently, the notion of a 'less deep' deep structure invites an implied understanding of the

* Corresponding author (saleem.dahabreh@ju.edu.jo)

© 2023 Authors. Publishing services by golden light publishing®.
This is an open-access article under the CC BY-NC-ND license (http://creativecommons.org/licenses/by-nc-nd/4.0/).
Proceedings of 3rd International Civil Engineering and Architecture Congress (ICEARC’23) 446

intellectual form through the interplay between the explicit and the implicit (Gandelsonas and Morton,
1980). Thus, the physical form is conceived as an 'indexical structure' that contains visual cues or traces to
externalize the architect's conceptual ideas (Eisenman, 1999; Isenstadt, 2001). Thus, as any architectural
work is the product of intellect and the source of aesthetics, Langer's (1967) concept of "logical form" must
be included in the discussion of architectural form. Logical form is defined as the knowledge of how a built
form is intellectually structured and designed. In light of this, the aesthetics of architectural form is
understood in terms of the autonomous creative process wherein the architect organizes his or her work in
accordance with a specific set of organizational principles (Stiny and Gips, 1978).
Taking Richard Meier's Rachofsky house as a case study, this paper examines the moment when
architectural form became aesthetically distinctive. It is not enough to focus attention on the existence of
form to describe the aesthetics of a work of art, because many things have form in some sense. Therefore,
the theory of "Aesthetic Symptoms" developed by American philosopher Nelson Goodman (1976) is used
as the theoretical basis for this paper. The aim is to introduce this philosophical vision to architecture in
order to establish a theoretical framework for the aesthetic appreciation of architectural forms. This paper
has recognizable value in architectural theories, because the contemporary struggle of today's architectural
theories is to turn architecture towards itself by focusing on autonomous formal activities and their artistic
aspects (Tafuri, 1969; Hays, 1998). Moreover, this paper plays an important role in architectural pedagogy,
because it is becoming increasingly difficult to ignore the lack of aesthetic understanding in design studios
where instructors superimpose their aesthetic preferences without explanations (Cho, 2011). Thus, this
paper aims to encourage a process of aesthetic education with an explanation in design studios.

2. Methodology
To comprehend the aesthetics symptoms of architectural form, Richard Meier’s Rachofsky house is
examined. Meier is selected because his architectural practice has a clear distinctive ‘signature’ style;
starting with the Smith House in the 1960s, Meier developed certain work tactics with spatial themes,
organizational principles, and design elements that became consistent across a wide spectrum of his
buildings. Meier's style involves the interaction spatial motifs, spatial themes, and formal syntax i.e. a
formal design language. Meier's themes include: modulation and proportionality, layering, reversal and
twin phenomena, promenade architecturale (Deamer, 2001; Meier, 2003; Dahabreh; 2006; Dahabreh,
2013). Elements of Meier's syntax include ‘stairwells and ramps', 'squared white enamel panels’, 'nautical
railings’, 'expansive glazing with aluminum mullions', 'glass blocks', and brise-soleil among others, giving
his buildings a clean abstract 'machine-like' aesthetic (Rykwert, 1991; Hutt, 1999). Through the syntactic
logic of his form, Meier aims to create distinctive architectural atmosphere, while comprehending the
totality of any architectural work through the crafty articulation of the pragmatic dimensions of buildings
(Dahabreh, 2006). The Rachofsky house is selected because as Meier commented about the design of the
house “‘The Rachofsky House is an ideal - an investigation into all of the possibilities of house as a building type
without many of the usual compromises. I like to think that The Rachofsky House is a kind of elegant case study, an
exercise that encourages us to reflect upon what our notions of house and home encompass.”
While the concept of form or logical form deals with how the abstract is translated into reality on an
intellectual level, the exploration of the aesthetics within this organizational structure can be pursued by
examining the physical form. The systematic exploration of architectural form is categorized as
architectural morphology, which serves as an "explanation of form." This explanation enables us to gain a
rational understanding of the structure by elucidating its internal and external relationships (Brady, 1987).
To analyze the house, both relational and constructive morphology approaches are employed. Relational
Morphology, as defined by Liou (1992), takes a synchronic perspective and delves into the formal
principles governing the relationships between various components and the overall configuration.
447 Dahabreh et al.

Examples of this approach can be found in works like Clark and Pause's (1985) "Precedents in
Architecture," where they analyze buildings based on morphological attributes such as geometry, structure,
and the processes of addition and subtraction.
In contrast, constructive morphology adopts a diachronic viewpoint, concentrating on the step-by-step
process of shaping a building. It assumes that the design evolves from a generic Platonic state into a
specific architectural form. This method draws theoretical inspiration from Peter Eisenman's (1963) thesis
"The Formal Basis of Modern Architecture." Eisenman distinguishes between a generic form, which is a
static, Platonic 3-D shape, and a specific form, which represents the actual physical configuration derived
from the Platonic form through a series of generative and transformative processes. This distinction is
particularly informative when the research objective is to illustrate "how" a form has been or could be
derived. One of the most detailed examples of this approach can be found in the diagrams created by Peter
Eisenman for his early houses (Eisenman, 1999). Through relational and constructive morphology, the
principles governing the overall shape of the house are examined both synchronically and diachronically
using 2-D drawings and 3-D axonometric diagrams. The preference for axonometric diagrams lies in their
capacity to convey quantifiable and objective information, as opposed to the distortions introduced by
perspective drawings and vanishing points (Somol, 1999).

3. Architectural design and Aesthetics

The concept of architecture goes beyond the mere construction of buildings; it extends beyond mere
material presence and practical constraints. Any architectural solution necessitates a theoretical foundation
to integrate knowledge and support its systematic purpose (Norberg-Schulz, 1965; Hillier, 2007).
Furthermore, architecture must convey meaning; it can communicate formal, intellectual, spiritual, or
expressionistic concepts (Hendrix, 2012). Consequently, architecture operates much like a ‘formal
language’ because architectural forms are guided by rules that organize the physical components of a
building and the relationships between them into a coherent and meaningful structure. Norberg-Schulz
(1965, p. 184) defines the 'formal language' of architecture as encompassing 'all the elements, relations,
and structures that constitute a meaningful system.' Therefore, architectural design is a deliberate endeavor
aimed at realizing abstract ideas, at least partially, in a built form that is experienced physically through
spatial relationships (Peponis et. al. 2002).
In addition to the theoretical, meaningful, and intellectual dimensions that architecture brings to the
realm of construction, it also introduces an artistic dimension. Pevsner (1945) argues that 'the term
architecture applies only to buildings designed with a consideration for aesthetic appeal,' while Winters
(2002) underscores that architecture 'entails a conception of its creations that incorporates utility as a
foundation for their aesthetic appreciation.' However, delving into the aesthetics of architecture presents a
challenge; Does architectural aesthetics solely arise from the formal attributes of materials or the visual
aspects, or does it emerge from the comprehensive properties defined by a system of formal relationships
and parameters? Additionally, the term "Aesthetics," originating from the ancient Greek "aisthanesthai,"
which means to sense or perceive, entails a multifaceted and intricate web of relationships. It encompasses
sensory perception, emotions evoked by sensory perception, the shape or configuration of an object, and
the keenness of subjective evaluation linked to perception (Lopez, 2015).
Traditionally, the aesthetic appreciation of architecture has primarily centered on the tangible aspects of
its form, whether it be the sensory qualities that engage our perception (Winters, 2007), the emotional
reactions elicited by its form, as exemplified by Burke (1757), the emotional connection with form as
proposed by Scott (1924), or the imaginative processes triggered by form, as discussed by Scruton (1979),
among others. However, in most instances, a building's form is not haphazard or accidental; instead, it is
purposeful and possesses an underlying structure characterized by specific attributes and relationships.
Proceedings of 3rd International Civil Engineering and Architecture Congress (ICEARC’23) 448

Hawkes (1977) argued that the true essence of an entity lies not solely within the entity itself but rather in
the interplay among its components, in other words, its structure. These structures dictate the arrangement
of constituents, imbue them with order, and give rise to their formal characteristics. This paper delves into
the aesthetics of these structures.
Furthermore, as architectural design can be interpreted both as a verb denoting an activity or process
and as a noun denoting a product or artifact (Dahabreh, 2006), the aesthetics of architecture can be
examined from two distinct perspectives: the philosophical dimension of intellectual form and the
psychological dimension of sensory or corporeal form (Davis, 1990; Davis, 2002; Stecker, 2010). The
psychological dimension aligns with the 'functionalist approach' to aesthetics, which assesses art based on
its capacity to offer a pleasurable aesthetic experience, without necessarily being intentionally regarded as
art. On the other hand, the philosophical dimension corresponds to the 'procedural approach' to aesthetics,
which seeks to characterize art as a reflective endeavor involving an intentional creative process (Davis,
1990; Davis, 2002).
This paper primarily concentrates on the philosophical approach because it directs its attention toward
the aesthetics of expressive and formal properties generated through the logic of form. In essence, it
investigates how architects grasp the intellectual order and transform it into an architectural form that can
be comprehended and interpreted by others. Furthermore, it explores the inherent properties or indicators
that transform that form into a work of art.

3.1. Symptoms of Aesthetics

Nelson Goodman is an American philosopher who is well-known for his contributions to the philosophy of
art, and his ideas have had a significant influence on the field. Goodman argued that artworks are
composed of symbols, and these symbols serve as "aesthetic symptoms." These symbols are not just
representational; they can be abstract or expressive in nature. Aesthetic symbols convey meaning, evoke
emotions, and play a crucial role in our aesthetic experience. The concept of "Aesthetic Symptoms" is
particularly associated with his work on the problem of aesthetic appreciation and the nature of artistic
expression. Goodman developed the theory of "Aesthetic Symptoms" as a part of his broader philosophy of
art and aesthetics. In Languages of art (first published in 1968) he aimed to shift the interest of aesthetics
study from ‘what is art’ to ‘when is art’ to overcome the philosophical problems about art. Goodman
argued that when we engage with works of art, we don't merely respond to their sensory qualities or
perceptual features but also to the various symbolic and conceptual elements they contain. He believed that
the aesthetic experience involves the ability to discern and appreciate the rich and complex interplay of
these elements. He formulated his epistemic perspective on aesthetics by defining five distinct and
mutually independent criteria:
• Exemplification: Goodman's aesthetic theory places exemplification at its core, emphasizing
that the content of aesthetic forms must possess a presentational or self-referential quality.
Exemplification can take two forms: literal and metaphoric. Literal exemplification
involves ascribing physical attributes to a form based on its inner logic, while metaphoric
exemplification or expression extends beyond physical properties to encompass cognitive
relationships. Consequently, through logical associations, aesthetic forms can convey
emotions, concepts, or both. Goodman (1976) asserts that "a thing can express only what
belongs but did not originally belong."
• Syntactic Difference: Syntactic difference is a characteristic of non-linguistic systems and
serves as a distinguishing feature that sets sketches apart from scores and scripts
(Goodman, 1976, p. 252). The notational language used in sketches, scores, and scripts is
governed by linguistic grammar, with the sketch representing the work itself.
449 Dahabreh et al.

• Semantic Density: Semantic density is characteristic of representation, description, and

expression in the arts, differentiating sketches and scripts from scores (Goodman, 1976, p.
252). While a musical score typically offers only one feasible interpretation, the meaning of
a script or sketch can be continuously revisited and enriched.
• Repleteness: In contrast to the endless possibilities afforded by density, repleteness
distinguishes semantically dense systems with a more representational nature from those
that are more diagrammatic or schematic (Goodman, 1976, p. 252). For instance, when
comparing Hokusai's wave paintings to an Electrocardiography (EKG) image (Fig. 1), the
former exhibits repleteness. Elements such as contrast, density, line thickness, contours,
and color all exemplify the painting, whereas the EKG image merely exemplifies regular
patterns and wave amplitudes (Elgin, 2011). Thus, in a work of art, every element and
property cannot be altered or substituted because each plays a crucial exemplificational
role.
• Multiple and Complex Reference: In his work "Ways of Worldmaking" (1978), Goodman
introduces "multiple and complex reference" as a fifth criterion. He highlights that
reference is conveyed through chains comprising exemplificational and denotational links.

Fig. 1. Comparison between the repleteness of a wave painting by Hokusai and Electrocardiography EKG

Nevertheless, for Goodman (1976) these symptoms are not disjunctively necessary nor conjunctively
sufficient. In view of this, it may not be necessary for any of them to be present in order to function as a
work of art and even if all the symptoms are present it is not necessary a work of art too. Even though
Goodman considers these symptoms not collectively necessary, recently Catherine Elgin (2011) has argued
that exemplification, density and repleteness are necessary to function as a work of art. She states that
‘what is symptomatic of the aesthetic is exemplification density and repleteness’. Accordingly, exemplars
in aesthetic forms have to be replete and dense, here density indicates both syntactic and semantic density.
‘Exemplars are syntactically dense if and only if between any two items with the capacity
to exemplify in a given system, there can in principle be a third […] Exemplars are semantically
dense if and only if the field of properties available for exemplification by symbols of a given
system is dense. Then between any two such properties there is a third’. (Elgin, 2011, p: 410)

4. Rachofsky House
As mentioned earlier, this analysis aims not only to clarify the themes and motifs embodied in the design of
Meier's Rachofsky House, but most importantly, to make explicit the beauty aspects in the underlying
geometry regulating its architecture. The analysis will address the underlying configurational ideas that
give order, purpose, and most importantly aesthetics to this house. This will yield a better understanding of
the relationship between the generic formal language of Meier, its interaction with a specific building
themes and motifs, and the resulting aesthetic appreciation.
Proceedings of 3rd International Civil Engineering and Architecture Congress (ICEARC’23) 450

The residence occupies a central position on a 3.2-acre plot of land at the suburbs of Dallas, allowing
for an approach via the driveway leading to an elevated black granite-faced platform where the house is
situated. Two sheets of water penetrating the podium give a perfect reflection of the white rectilinear mass
that hovers on four pilotis projected outside the main mass, indicating its main structural system and
holding the white metal-faced front elevation shielding the living volume (fig.2). Additionally, it features a
backyard that includes a pool and various site-specific sculptures. At any given time, the house serves as a
display space for numerous pieces from Mr. Rachofsky's extensive collection of over 700 significant
contemporary artworks.

Fig. 2. The Rachofsky house

The fundamental functional layout of the house revolves around three rows of columns and an X-Y axis
of circulation. The front and rear entrances align with the interior and exterior circulation paths. The
connection between the three-floored mass and the site is provided by three separate types of stairs; a 90°
degrees’ bridge, sided by an opaque wall leading to the entrance, where it opens to reveal the lake view and
create an element of surprise. An enclosed spiral stair is located at the end of the spine created by the
promenade architecturale, echoed by an open switchback stair allocated at the rear opposite southern side
of the mass. The cantilevered stair to the North creates a striking transition between ground level and the
elevated living area, entirely enveloped in glazing, offering an immersive experience that bridges interior
circulation with the breathtaking views provided by the expansive trees and the adjacent lake. Moreover,
the rows of columns delineate the house's functions, distinguishing between more public circulation areas
and private spaces. Towards the southern end of the residence, a private spiral staircase provides direct
access to the master suite. In addition to the bedroom and a spacious his-and-her master bathroom, the third
floor houses a gym, two balconies, and an office that seems to "float" above the living room like an
enclosed box within another box.
The house's Eastern facade stands out with its rectangular shape and solid appearance of white
aluminum paneling hovering above the entryway, while the rear facade of the main living area is
451 Dahabreh et al.

characterized by extensive glazing connecting the interior with the natural surroundings. Central to the
design of the house is the second floor living room. Here, the entire site's is unveiled through the expansive
double-height window wall that creates and interplay of light and shadow between the interior of the house
and surrounding nature. It's worth noting that the mullions and openings on the house do not align with the
exterior grid of the façade but instead correspond with walls and columns inside the house, based on the 3-
foot podium grid. Ultimately, according to Meier, ‘the Rachofsky House serves as both a dwelling and a
sanctuary. Its architectural purpose extends beyond providing a place to live, serving as a catalyst for
deeper contemplation of the interplay between nature and art, and the intricate science of harmoniously
uniting them.’

4.1. Morphological analysis of the Rachofskey house

The house's generic form is a rectangular block, and its significance lies in the metaphor it represents as a
scaffold. This scaffold serves as a clear reflection of Meier's work, characterized by a strong sense of
discipline through his consistent use of a rectilinear blocked regulated by a grid. The grid within the
scaffold acts as an agent that regulates the axes and governs the relationships among the design elements
(fig, 3). It functions as a framework that organizes both the spatial and physical aspects of the structure
(Dahabreh, 2006).
The grid is a base of a formation that involves two horizontal planes, which divide the rectangular mass
into three floors. Additionally, a longitudinal axis divides the mass into thirds, achieved through three rows
of columns, establishing the primary horizontal circulation datum distinct from the private spaces. To
maintain balance and harmony within the structure, a dual structural system is employed, incorporating
suspended free-standing columns and support beams, along with load-bearing concrete walls encasing the
private half of the house. These elements serve dual roles, playing a part in both the structural and
architectural aspects, effectively articulating and guiding the functional and structural organization of the
specific form.

Fig. 3. The house as an animated block regulated by a modular grid

The overall rectangular mass adheres to a grid system with a 0.9x0.9m module, resulting in dimensions
of 15x30m and forming an asymmetrical mass composed of two 15x15m squares placed adjacently. These
squares are aligned with their centerline parallel to the N-S axis, effectively dividing the mass into two
halves – one for public use and the other for private use. This arrangement creates a central datum on the
ground floor, accommodating the wet areas. Running perpendicularly to the primary datum, seven axes are
oriented parallel to the E-W axis. These axes maintain fixed intervals of 4.5m between the concrete circular
columns, establishing the main horizontal circulation pathway that connects the spiral staircase (for private
use) to the rectilinear staircase (for public use).
Proceedings of 3rd International Civil Engineering and Architecture Congress (ICEARC’23) 452

Upon closer examination of the floor plans, it becomes evident that Meier's commitment to precision,
geometry, and achieving balance within the cubic volume is manifested (fig, 4). The use of the golden ratio
plays a significant role in governing the relationships among the architectural elements. Furthermore,
Meier strategically allocates multiple elements, including vertical circulation elements, while also
strategically subtracting certain sections to emphasize the importance of the stairs on the opposite side.

4.2. The Aesthetics symptoms of the Rachofsky house

The discussion of the symptoms of aesthetics of any architectural form has to inspect if the exemplars are
dense and replete. Therefore, this section explores the form of the Rachofsky house according to three
interrelated aspects: exemplification, semantic and syntactic density and repleteness:
First, exemplification: using the basic architectural elements of line, plane and mass Meier created a
composition of juxtaposed platonic forms. Accordingly, the form of the house refers to itself and
exemplifies its own logic. In view of this, the content of form is internalized within itself and exists
independent of any other visual reference in the world. Literal exemplification or, in architecture, spatial
theme presents a meronomic relation, or relation between the elements and the whole that unifies the
architectural composition (Saft, 2002; Borillo and Goulette, 2004). In the house, Meier created the theme
of abstractness by manipulating an abstracted geometry of white forms in order to achieve spatial richness.
Whiteness of form, perpendicular axes on spatial layers, spatial interlocks and visual cues that trace the
design logic, all of them, shift focus from the design elements themselves to the relation between them.
Therefore, the theme of abstractness is emphasized and the theme of universality is also created because
the interest exceeds the perceptible structure to the implied deep structure i.e. universal principles as
proportions and modules.
Meier also constructed the theme of tension, controlled dramatic quality between opposing forces, in
the house. According to Arnheim (1974) tension can be produced in a work of art through object
deformations and transformations, through occlusion or overlapping elements, through contrast or duality,
and, finally, through directed tension of gradual changes in size, shape or color of the design elements. In
view of this, tension is created by Meier through subtractions and sliced transformations in both masses
and planes, the overlapped elements in the front façade and the dualities of open/closed, solid/void,
curve/straight and volume /plane. Furthermore, the theme of phenomenal transparency as an optical
phenomenon, which discussed first by Row and Slutzky (1982), is achieved because the shared portions of
seemingly overlapping elements in the successive spatial layers stimulate the perception to understand their
spatial relation and establish a spatial depth according to figure/ground relations. In addition to the themes
of abstractness, universality, tension and phenomenal transparency, the theme of ‘promenade
architecturale’, formulated by Le Corbusier as an approach of setting the itinerary for a building, plays a
major role in structuring the form of the house. Moving in two perpendicular axes around syntactical
centers, multiple means of circulations, hierarchy of spaces and different spatial layers generate a series of
unfolding views, visual rhythms of forms and itinerary of transformational realities between dualities (fig,
5). Besides these themes, the form of the house expresses several motifs such as ambiguity, dynamism and
excitement.
453 Dahabreh et al.

Fig. 4. Proportion and geometry regulating the layout of the house

Proceedings of 3rd International Civil Engineering and Architecture Congress (ICEARC’23) 454

The main block regulated by a grid and divided into public The intersecting planes defining zones and articulating
and private zones the interior and exterior

The allocation of the three stair cases within the main block
The interplay of rows of columns and planes animate
of the building
the space and define functional zones

Hierarchy of spaces and different spatial layers generate a series of unfolding views, visual rhythms of forms and
itinerary of transformational realities between dualities

Fig. 5. The spatial articulation of the Rachofsky house

Further, a clear dialect can be seen obviously on multiple [aspects/concepts] in the design of the house,
most importantly, the proposition of the ideal (abstract/generic) form in relation to the real
(analytic/specific) form, two separate but highly interrelated concepts. The contrast between the public and
the private is another manifestation for this dialect, which was expressed in multiple ways; the
organizations of the volumes within the rectilinear mass in relation to the allocation of the vertical
circulation, the structure in the private zone is of load bearing wall pierced by a number of discrete
openings, while the public zone is composed of a grid of columns and beams that supports the horizontal
planes with a glass skin overlooking the Lakeview, creating a duality in the reading of the house (fig, 5).
The functional division is also affected by this duality; the theme of "reversal" or "twin phenomena" can be
455 Dahabreh et al.

determined in the external reading of the house, where the private functions were closer to the eastern
rectangular facade, where the ubiquitous Meier grid of white aluminum paneling, in addition to the
seemingly floating white concrete box within a box that inhabits a private office, while the public zone is a
series of platforms containing the main living area enclosed with a glass skin.
Second, density: according to the previous discussion the multiple spatial themes and motifs make the
content of the house’s form semantic density. It possesses several spatial meanings and the architectural
narrative always enriches by gaining different impressions and new appreciations with each move. On the
other hand, the syntactic density allows for new possibilities in architectural form in which there is no pre-
defined list of characters but infinite possible ones structured based on operational relations. Therefore, it
distinguishes the architectural formal language through integrating transformational rules that operate on a
generic element and comprise a group of that element. In a discrete notational system, like the house,
syntactic density is understood through a process of figuration whereby the ‘elements of the character class
can be systematically mapped on to individual elements of the compliance class’ (Bafna, 2005, p: 270). In
view of this, in the house, the window fenestrations on the solid façade, the rectangular pattern of mullions
on the glazed façade, the internal volumes, the circular elements, the horizontal planes, the vertical planes
and the beams vary in size, proportion and characteristics. According to applied transformational rules such
as translation, rotation, reflection, stretch, scale, bending and deformation these elements are animated (fig.
15). Thus, the architectural form of the Rachofsky house is syntactic density as Meier constructed a field of
alternatives that can be mapped to a compliance class.
Third, repleteness: in architecture, repleteness occurs when the character in the character class carries
a significant inscription that cannot be changed with an alternative (Bafna, 2005). Repleteness of
architectural forms, in other words, means the design elements and the character of each element, which
emerges from defined transformational rules, cannot be substituted or eliminated because they have
exemplificational roles. Consequently, through understanding the constructive morphology of the house
and its relation to the exemplified themes and motifs, the formal configuration of the house follows the
logic of concretizing them into a corporeal form. This logic is regulated by a rigorous organizational
system making the location of the design elements and the overall configuration replete, too. As a result,
the repleteness of the house’s form emerges from the exemplificational roles of the design elements and
characters that follow a deep structure of syntactic and configurational relations.
Overall, the form of Rachofsky house is aesthetically pleasing because it’s an autonomous form that
exemplifies itself relying on a dense content of abstract spatial themes and motifs. This content is
actualized through a formal language that carries syntactic density. Eventually, the whole design process,
of how that architect moved from the abstract dimension i.e. conception to the real dimension i.e.
perception, is replete.

5. Conclusions
In this paper, we have delved into the aesthetics of architectural form by examining Goodman's symptoms
of exemplification, density, and repleteness, aiming to elucidate the circumstances under which
architectural form attains aesthetic distinctiveness. Our discussion has underscored that comprehending the
aesthetic evaluation of architectural form transcends subjective judgment of the final outcome. Therefore, it
is imperative to grasp these criteria within the philosophical framework of procedural aesthetics, which
pertains to the knowledge and intentionality behind the artistic creation process. This framework has been
integrated with architectural theories, portraying architecture as an intellectual endeavor concerned with the
evolution of the final form in its tangible manifestation.
Through a meticulous morphological analysis of Meier's Rachofsky house, this paper has demonstrated
that Goodman's three aesthetic criteria - exemplification, density, and repleteness - furnish a rational
Proceedings of 3rd International Civil Engineering and Architecture Congress (ICEARC’23) 456

foundation for appraising architectural design. This assessment has encompassed the entire design journey,
examining the dynamic interplay between the logic of form and the abstract spatial themes and motifs. In
essence, it has scrutinized the narrative of transformation or the journey from the abstract to the tangible -
the concrete architectural form - as well as the internal coherence of that form. Consequently, what renders
any architectural form aesthetically distinctive lies in how it embodies itself, the semantic richness of its
content, the syntactic complexity of its formal language, and the thoroughness of the design process.
This paper significantly contributes to the realm of architectural design theories and pedagogy by
broadening the scope of aesthetics to emphasize the formative process. It encourages architectural students
to cultivate their unique aesthetic sensibilities instead of merely emulating the preferences of others. This is
achieved through the cultivation of a dense semantic dimension, the development of a rich formal
vocabulary, and a logical progression from the abstract to the tangible in the design process

Declaration of conflicting interests

The author(s) declared no potential conflicts of interest with respect to the research, authorship, and/or
publication of this article.

Acknowledgments
Drawing credits: 2D drawings are done by Archect Basma Khlaif, 3D models are by Dr Nancy Alassaf

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