On the plane of material indexes, typology assumes an ideogrammatic representation within the building. Arising out of a combination of several ‘lower order’ elements of architeture, it is a meta-language. Nevertheless, an empirically identifiable entity : so to speak, it is a construct one ‘sees’ with the ‘back’ of his head while experiencing the building. It requires one to operate through itself to ‘reach’ the meaning of the work. Hence, the meaning of the work is inextricably tied to it and the codes of inner coherence that constitute the type, rather then any extrinsic-appliqué-signs.
The building is a combination of several Diagrammatic characters ‘gathered’ into recognisable patterns. The ideograms may be embedded, interpenetrated, juxtaposed or they may simply ‘pass through’ one another giving raise to the particular syntax of the work. Resulting in a three dimensional structure – object which is embedded into the building. Resulting in that which this narrative constantly attempts, i.e., ambiguous readings in-between : i.e. architectural space.
Derivation of the Ideogram from within the building is a product of Historical/Ideological? selections. Interpretation of the work depends on the ‘direction’ of observation : the analyst’s capability to call up one three dimensional meaning – unit or another. In their embedment and mutual transformations, several contents : the primal and the transformed versions which arise from it as well as their divergences are preserved in the work. In the constant flux of resulting perceptions, the ideograms present a holistic and meaning sequence however fragmental its signs may be : the same architectural space can set several of its constituent meaning – units dominate and as such bear upon their contents. Identification of order of legibility of the object, as a result becomes a significant ideological construct.
Concerned as we are with the Building itself, and not its image, or projection; we find the normative Unities of Architectural Representation [plan - mass - surface] problematic as they 'sort' the semantic order of work along their own, instituted but arbitrary lines. Interposing the drawing as a positive thing [an Ichnographic object] in the process, fragmenting our thought.
The method adopted here extensively uses the wire-frame. Which is considered an equivalent of the Mental Object (or delineation) used by the brain to recognise things in External World. The wire-frame is seen, secondly, as the equivalent of the internal representation in data space. A material thing inasmuch as objects apprehensible to our senses have materiality. A representation of knowledge.
It is possible to work in this way and completely replace the drawing with a code-operating mechanics, e.g., the computer. In which the traditional devices of the architect [drawing, tracing] are substituted by the devices of a New Architecture [coding, programming]. The new method consists of formation of series, with internal logic, dynamics; and a process. We hope that implementation of this transformation in the basic ways of working with knowledge in the Architectural profession would go a long way in inventing new functions and fields of architectural production.
In studies showing the synchronisation of architectural space and structure the preceding abstractions find corresponding level of technology, and representation of labour.
I am sure you are familiar with Anant Raje's Indian Institute of Forest Management building. We may consider it an example of the preceeding. The building, as does the architect’s œuvre occupy an extraordinary position in the corpus of South Asian architecture. Demonstrating rigours and containing faiths so necessary, and yet elusive in practice. The IIFM building has become a touchstone for the professional, especially the young.
Using primarily Enlightenment design methods, and developing a particular variant of technique or the mode of knowing best represented by the school of Louis Kahn, Anant Raje constructs an ideogrammatic representation of architecture. A meta-structure fabricated by combining several elements at the origin of architecture. This meta-structure is not the building, but rather a representation of architecture contained by the building. A three dimensional structure-object embedded into the building, this yields a unique coherence: the building is a proto-urban object. A source.
This building reveals a high degree of retention. Built on a hill-top, a solitary elevation in repose with the surrounding landscape. It is an architectural composition conceived of Historical and Ideological selections brought together in light of the locale, technological specifics and the programme. In their embodiment and the resulting mutual engagements, several contents represented by these elements: the primal and it’s transformations arising in the design process are preserved within this artefact. Meaning of this work is inextricably tied as a result to the building and codes of coherence that constitute the type, rather then any extrinsic, or appliqué, signs. Resulting in a continuous flux of experiencing in-between: i.e. architectural space.
A Trabeated structural frame primarily describing cuboidal volumes has been deployed throughout, realized via reinforced concrete and load bearing walls. The 20th century structural solutions are placed at the disposal of the classical streotomy and architectonics.
Anand Bhatt. Ahmedabad, 19 December 2000. [from an Introduction to On Typology-Mapping Heterologies Studies]