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It also explores links between formal spatial systems and event systems, including motivations and analogies drawn from narrative theory and literature.",{"@graph":14,"@context":72},[15,34,55],{"@type":16,"itemListElement":17},"BreadcrumbList",[18,23,27,31],{"item":19,"name":20,"@type":21,"position":22},"https://docshare.wps.com","Home","ListItem",1,{"item":24,"name":25,"@type":21,"position":26},"https://docshare.wps.com/document/","Document",2,{"item":28,"name":29,"@type":21,"position":30},"https://docshare.wps.com/document/research-report/","Research & 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architectural sequence implies?","Question",{"text":62,"@type":63},"It implies (1) an internal relation dealing with the method of work, (2) two external relations—one about the juxtaposition of actual spaces and another about the program (events/occurrences).","Answer",{"name":65,"@type":60,"acceptedAnswer":66},"How does the text describe transformational sequences and their typical devices?",{"text":67,"@type":63},"Transformational sequences rely on devices or rules such as compression, rotation, insertion, and transference, and they can also include variations, repetitions, inversions, substitutions, metamorphoses, anamorphones, and dissolutions.",{"name":69,"@type":60,"acceptedAnswer":70},"Is the text claiming a causal link between formal space systems and event systems?",{"text":71,"@type":63},"It raises the question whether a causal link or homology exists, using rhetorical comparisons and suggesting that events can be motivated by procedures or turned into 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Tschumi,Screenplays(Psycho Dissolve),1977.Bernard Tschumi,Screenplays (Domino Distortion),1979.  \nSequences  \nAny architectural sequence includes orimplies at least threerelations.First,an internal relation,which deals with themethod of work;then two external relations—one dealingwith the juxtaposition of actual spaces,the other with pro-gram (occurrences or events).The first relation,or transfor-mational sequence,can also be described as a device,aprocedure.The second spatial sequence is constant through-out history;its typological precedents abound and its mor-  \nphological variations are endless.Social and symbolicconnotations characterize the third relation;we shall call itfor now the programmatic sequence.  \nOne customary mode of architectural drawing already im-plies a transformational sequence.Successive layers of trans-parent tracing paper are laid one upon another,each with itsrespective variations,around a basic theme or parti.Eachsubsequent reworking leads to or refines the organizing prin-ciple.The process is generally based on intuition,precedents,and habit.  \nThis sequence can also be based on a precise,rational set oftransformational rules and discrete architectural elements.The sequential transformation then becomes its own theo-retical object,insofaras the process becomes the result,whilethe sum of transformations counts at least as much as theoutcome of the final transformation.  \nTransformational sequences tend to rely on the use of de-vices,or rules of transformation,such as compression,rota-tion,insertion,and transference.They can also displayparticular sets of variations,multiplications,fusions,repe-titions,inversions,substitutions,metamorphoses,anamor-phoses,dissolutions.These devices can be applied to thetransformation of spaces as well as programs.  \nchosen rules ultimately imply the exhaustion of a process,its circularity,or its repetition.The open ones are sequenceswithout closures,where new elements of transformation canbe added at will according to other criteria,such as concur-rent or juxtaposed sequences of another order—say,a narra-tive or programmatic structure,juxtaposed to the formaltransformational structure.  \nRoland Barthes,in the\"Structural Analysis of Narratives,\"defining a sequence:“A logical succession of nuclei boundtogetherby a relation of solidarity:the sequence opens whenone of its terms has no solitary antecedent and closes whenanother of its terms has no consequences.\"2  \nSequences of space,configurations-en-suite,enfilades,spaces aligned along a common axis—all are specific archi-tectural organizations,from Egyptian temples through thechurches of the quattrocento to the present.All have em-phasized a planned path with fixed halting points,a familyof spatial points linked by continuous movement.  \nSequences of transformation and sequences of spaces rarelyintersect,as if architects carefully distinguished means ofinception from end product through a sort of discrete re-straint that does not reveal the maker's artifices in the finalresult and favors the certainty of a well-defined axis over thepassionate uncertainties of thought.  \nIf spatial sequences can be obviously manifest differences ofgeometrical form (the Villa Adriana),they can also differ bydimension alone,while maintaining similar geometricalform (the Ducal Palace at Urbinol.They can even steadilyincrease in complexity,be constructed,step-by-step—or de-constructed—according to any rule or device.  \nSpatial transformations can be included within the time se-quence—for example,through continuous scenery such asFrederick Kiesler's 1923 space stage set for Eugene O'Neill'sEmperor Jones.  \nLuigi Moretti,writing on the spatial sequences and abstractrelationships of Palladio's Palazzo Thiene in Vicenza:\"Intheir pure dimensions,the sequences can be equated graph-ically as circles whose radii are proportional to the spherecorresponding in volume to each surrounding and whosecen","cbCaiqNXo6v3GwPJ","https://ap.wps.com/l/cbCaiqNXo6v3GwPJ","pdf",951582,"English","# Sequences: three relations\n## Transformational, spatial, and programmatic relations\n# Drawing and transforming sequences\n## Layered tracing and rational transformation rules\n# Devices and variations in transformation\n## Compression, rotation, insertion, transference\n# Open sequences and narrative adjacency\n## Addable transformations without closures\n# Barthes definition of sequence\n## Nuclei, solidarity, opening and closing\n# Sequences of spaces\n## Axes, alignments, fixed halting points\n# Transformations across time\n## Scenery and staged environments\n# Architecture as inhabited event sequences\n## Events superimposed on spaces\n# Causal and homological questions\n## Form-function and space-event relations\n# Motivation and reverse motivation\n## Formal procedures versus content justification","[{\"question\":\"What three relations does the text say an architectural sequence implies?\",\"answer\":\"It implies (1) an internal relation dealing with the method of work, (2) two external relations—one about the juxtaposition of actual spaces and another about the program (events/occurrences).\"},{\"question\":\"How does the text describe transformational sequences and their typical devices?\",\"answer\":\"Transformational sequences rely on devices or rules such as compression, rotation, insertion, and transference, and they can also include variations, repetitions, inversions, substitutions, metamorphoses, anamorphones, and dissolutions.\"},{\"question\":\"Is the text claiming a causal link between formal space systems and event systems?\",\"answer\":\"It raises the question whether a causal link or homology exists, using rhetorical comparisons and suggesting that events can be motivated by procedures or turned into programs.\"}]","Sequences - A discussion of architectural sequences and program | PDF",23]