[{"data":1,"prerenderedAt":-1},["ShallowReactive",2],{"doc-seo-657861-105":3,"detail-sidebar-cat-0-en-105":80,"doc-detail-657861-en":130},{"code":4,"msg":5,"data":6},0,"ok",{"site_id":7,"language":8,"slug":9,"title":10,"keywords":11,"description":12,"schema_data":13,"social_meta":73,"head_meta":75,"extra_data":77,"updated_unix":79},105,"en","ten-canonical-buildings-10-the-soft-umbrella-diagram","TEN CANONICAL BUILDINGS - 10 - The Soft Umbrella Diagram","","Explores Frank O. Gehry’s Peter B. Lewis Building (1997–2002) through the concept of “the Soft Umbrella Diagram.” The discussion contrasts Greg Lynn’s diagrammatic necessity—diagrams that refer to their own operations rather than site or program—with Gehry’s more phenomenal, iconic approach. It considers algorithmic and computational logics, the undermining of disciplinary precedents, and how close reading shifts between conceptual attention and visual perception.",{"@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 & Report",3,{"item":32,"name":10,"@type":21,"position":33},"https://docshare.wps.com/document/ten-canonical-buildings-10-the-soft-umbrella-diagram/657861/",4,{"url":32,"name":10,"@type":35,"image":36,"author":41,"headline":10,"publisher":44,"fileFormat":47,"inLanguage":8,"description":12,"dateModified":48,"datePublished":49,"encodingFormat":47,"isAccessibleForFree":50,"interactionStatistic":51},"DigitalDocument",{"url":37,"@type":38,"width":39,"height":40},"https://docshare.wps.com/thumbnails/ten-canonical-buildings-10-the-soft-umbrella-diagram/657861.png","ImageObject",300,407,{"name":42,"@type":43},"Valentina","Person",{"url":19,"name":45,"@type":46},"DocShare","Organization","application/pdf","2026-10-29","2026-10-26",true,{"@type":52,"interactionType":53,"userInteractionCount":33},"InteractionCounter",{"@type":54},"ViewAction",{"@type":56,"mainEntity":57},"FAQPage",[58,64,68],{"name":59,"@type":60,"acceptedAnswer":61},"What is meant by “the Soft Umbrella Diagram” in this text?","Question",{"text":62,"@type":63},"It describes a diagram-like logic in which forms settle over an internal organization of spaces and structure without relying on an originary external condition. Gehry’s approach is framed as a “soft umbrella” rather than a rigid prior scheme.","Answer",{"name":65,"@type":60,"acceptedAnswer":66},"How does the book connect diagrammatic thinking to digital processes?",{"text":67,"@type":63},"It argues that Lynn’s digital work treats diagrams as outputs of internal or computational logics. Their meaning is legible as representation of processes, recorded indexically over time, without depending on external relationships like site or program.",{"name":69,"@type":60,"acceptedAnswer":70},"What distinction does the text make between Lynn’s and Gehry’s use of the digital?",{"text":71,"@type":63},"It claims there is a significant separation: Lynn’s digital is conceptual and algorithmic, while Gehry’s diagrams originate from analogic methods and the digital work functions largely as reproduction. 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Profiles of Text 26  \nLuigi Moretti, Casa “Il Girasole,” 1947–50  \n2. The Umbrella Diagram 50  \nLudwig Mies van der Rohe, Farnsworth House, 1946–51  \n3. Textual Heresies 72 Le Corbusier, Palais des Congrès-Strasbourg, 1962–64  \n4. From Plaid Grid to Diachronic Space 102 Louis I. Kahn, Adler House and DeVore House, 1954–55  \n5. The Nine-Square Diagram and its Contradictions 128  \nRobert Venturi, Vanna Venturi House, 1959–64  \n6. Material Inversions 154 James Stirling, Leicester Engineering Building, 1959–63  \n7. Texts of Analogy 178 Aldo Rossi, Cemetery of San Cataldo, 1971–78  \n8. Strategies of the Void 200 Rem Koolhaas, Jussieu Libraries, 1992–93  \n9. The Deconstruction of the Axis 230 Daniel Libeskind, Jewish Museum, 1989–99  \n10. The Soft Umbrella Diagram 256 Frank O. Gehry, Peter B. Lewis Building, 1997–2002  \nBibliography 288  \n\n| Editorial Layout 02 08. indd 5 | 4/9/2008 10:43:47 AM |\n| --- | --- |\n\n1. Frank O. Gehry & Partners, Peter B. Lewis Building, Weatherhead School of Management, Case Western Reserve University. Cleveland, Ohio, 2002.  \n10. The Soft Umbrella Diagram  \nFrank O. Gehry, Peter B. Lewis Building, 1997–2002  \nMost of the diagrams discussed in this book, whether they are iconic, symbolic, or indexical, secure their importance by displacing an original and preceding condition. Greg Lynn, in his Embryological House and in several recent projects, proposes another kind of diagram, one that has no originary condition. Lynn suggests that form harbors, as an integral aspect of its being, conditions which he calls form’s own diagrammatic necessity. This internal logic renders it possible to produce diagrams that refer not to an external transcendental signified, but to their own operations. Such diagrams may not depend on any of the a priori notions that could be assumed to determine architecture, such as site or program. If that is the case, for example, if the problematic of part-to-whole—the relation of a building to its site, of its inside to its outside, or of the building to the city—is no longer necessarily an a priori truth, then the necessity of a part-to-whole relationship is in fact undermined, as is the typeof close reading that searches for this relationship. Rather than the part, Lynn’s work deals with the component as an infinitely repeatable entity. He suggests that it is possible to work on components—whether they are components of a building or components of the city—which have no necessary relationship to the whole, nor to a precedent, but result from a set of internal or computational logics.  \nLynn argues that a computer algorithm operates both in the Peircian sense of the symbol and the index, in that its meaning is legible as a representation of such processes and that these operations take place overtime, which is recorded in an indexical manner. These digital processes, Lynn suggests, do not depend upon an external relationship of site, program, or some prior architectural necessity.  \n258 Peter B. Lewis Building  \n2. Peter B. Lewis Building, study model, June 1997.  \nArchitecture may always look like architecture because it shelters, encloses, resists the forces of gravity, and is sited, yet these thematic operations do not necessarily need to refer to previous disciplinary architectural conditions—in other words, to precedents or what are called here disciplinary persistencies. Lynn’s argument implies that these prior conditions of architecture’s own disciplinary precedents are not necessarily relevant to those of the future, given that these algorithmic processes are in fact unfamiliar to architecture. This effectively suggests that it may not be necessary to study the history of archi","cbCaib5im6Z30RAT","https://ap.wps.com/l/cbCaib5im6Z30RAT","pdf",12339676,34,"English","# The Soft Umbrella Diagram\n## Digital processes and diagrammatic necessity\n## Part-to-whole and the component as repeatable\n## Conceptual vs phenomenal reading","[{\"question\":\"What is meant by “the Soft Umbrella Diagram” in this text?\",\"answer\":\"It describes a diagram-like logic in which forms settle over an internal organization of spaces and structure without relying on an originary external condition. Gehry’s approach is framed as a “soft umbrella” rather than a rigid prior scheme.\"},{\"question\":\"How does the book connect diagrammatic thinking to digital processes?\",\"answer\":\"It argues that Lynn’s digital work treats diagrams as outputs of internal or computational logics. Their meaning is legible as representation of processes, recorded indexically over time, without depending on external relationships like site or program.\"},{\"question\":\"What distinction does the text make between Lynn’s and Gehry’s use of the digital?\",\"answer\":\"It claims there is a significant separation: Lynn’s digital is conceptual and algorithmic, while Gehry’s diagrams originate from analogic methods and the digital work functions largely as reproduction. The difference also appears in how reading shifts between mind and eye.\"}]","TEN CANONICAL BUILDINGS - 10 - The Soft Umbrella Diagram | PDF",1792992418,86]