Table 1
Architectural forms according to the MTA [Source: Courtesy of the authors].
| Building | Housing | |
|---|---|---|
| Identity | types (archetypes) | modes (models) |
| Unity | elements (arrangements) | positions (compositions) |
Figure 1
‘Combinaisons verticales de colonnes, d’arcades, de voûtes, etc.’ [Source: Durand, J-N-L. Précis des leçons d’architecture données à l’École polytechnique, Plate 2].
Figure 2
‘Salles’ [Source: Durand, J-N-L. Précis des leçons d’architecture données à l’École polytechnique, Plate 13].
Figure 3
‘Théâtres modernes’ [Source: Durand, J-N-L. Recueil et parallèle des édifices de tout genre, anciens et modernes, Plate 38].
Table 2
Architectural facts according to the MTA [Source: Courtesy of the authors].
| Building | Housing | |
|---|---|---|
| Identity | fashion (work) | facility (sectors) |
| Unity | piece (assemblage) | place (network) |
Figure 4
‘Théâtres antiques’ [Source: Durand, J-N-L. Recueil et parallèle des édifices de tout genre, anciens et modernes, Plate 37].
Table 3
Formulation group and sub-groups of Palladio’s villas as included in I Quattro Libri [Source: Palladio A., I Quattro Libri; table compiled by the authors].
| Fact 1 | Fact 2 | Fact 3.1.1 | Fact 3.1.2 | Fact 3.2 | Fact 3.3 | Date of design |
|---|---|---|---|---|---|---|
| Godi | 1537 | |||||
| Pisani | 1542 | |||||
| Thiene | 1542 ? | |||||
| Saraceno | c.1548 | |||||
| Angarano | 1548 | |||||
| Poiana | 1549 | |||||
| Ragona | c.1553 | |||||
| Trissino | c.1553 | |||||
| Zeno | 1554 ? | |||||
| Mocenigo | 1554 ? | |||||
| Badoer | c.1554–55 | |||||
| Barbaro | c.1554 | |||||
| Thiene | 1556 | |||||
| Emo | 1556 | |||||
| Repeta | 1560 ? | |||||
| Sarego | 1565 | |||||
| Mocenigo | before 1570 |
Figure 5
Palladio’s formulation groups and sub-groups [Source: Palladio A., I Quattro Libri; plans collated by the authors].
Figure 6
Aerial photograph of the Will Rogers Memorial Center in 1941 [Source: University of Texas at Arlington Libraries].
Figure 7
Left pavilion of the Will Rogers Memorial Center and its attendant pathway, which leads now to the Kimbell Art Museum, as seen in 1937 [Source: University of Texas at Arlington Libraries].
Figure 8
Aerial view of the site after the construction of the geodesic dome of the Casa Mañana (visible on far left) in 1958, and before the construction of the Amon Carter Museum of American Art, built in 1961. The two main pathways with their gridded trees can be seen clearly, as indeed can the empty site in the front-centre that was later used for part of the Kimbell Art Museum [Source: University of Texas at Arlington Libraries].
Table 4
Formulation group and sub-groups of the successive stages of Louis Kahn’s design for the Kimbell Art Museum [Source: Courtesy of the authors].
| Fact 1.1 | Fact 1.3 | Fact 1.2 | Fact 1.4 | Date of design |
|---|---|---|---|---|
| Square plan | Spring 1967 | |||
| Rectangular plan | 1967 | |||
| H-plan 1 | Summer 1967 | |||
| H-plan 2 | Fall 1967 | |||
| C-plan 1 | Fall 1968 | |||
| C-plan 2 | Spring 1969 |
Figure 9
Aerial photograph adapted to show the successive stages of the Kimbell Art Museum’s formulation group – the smaller block opposite on the left is the 2103 ‘extension’ by Renzo Piano Studio [Source: Courtesy of the authors].
Figure 10
Aerial view of the site during construction of the Kimbell Museum of Art (lower left), taken sometime around 1968 [Source: University of North Texas Library].