Field Conditions Diagrams

Mandi Carter

Objects to Fields

“There no Me or You Just Us” US, Brother Ali:

When considering field conditions, we most move our thinking from the overall composition to the smaller more individual parts of the whole, and how they connect. Allen suggests that field conditions are the forms that unify these singular elements into one composition. They allow the solitary to become community. It is with this reasoning that architects can reexamine what networks  and connections they themselves can implement into their own work and consider what effects that has on the user’s and how to carter these networks and connections to meets the user’s needs.

Geometric vs algebraic

Instagrammable Math:

Throughout the ages, Allen argues we can see a kind of “organic geometry” play itself out in successful designs. The reading suggests that systems of  axiality, symmetry and formal sequences come together to create an equation that informs that direction of the compositions. This system of rules can give a sense of hierarchical order to a design, so if any thing was added or removed it would dismantle the unity in piece, this dismantling can be avoided by considering the equation when modifying the composition. Much like one would find on a successful Instagram feed, a curated groups of photos each it’s on pleasing moment, but also pleasing to look at as a whole.

Walking out of Cubism

The Jackson Pollock of it all:

In this piece Allen also speaks on the idea of disruptions, whether chaotic or systematic, these disruptions act as joinery to the singular parts of the composition.These disruptions serve to support the “rules” of the composition by taking their orders from the rules of the composition.  It is in this process we can see how shapes, color, and other elements of a composition come together to make something whole. Consider American Artist Jackson Pollock  and his process to expand on this point. In Pollock’s Case the paint informs his rules, he can not control exactly what it will do when it hits the canvas but he can choose how the next splatter connects to the last and so on. This, this sequence of events , is where the overall piece truly comes together, but that’s not the point, it’s the minimal process which Pollock utilizes that is the true hero.

Thick 2D: Moires, Mats

Peaks, Vortexes and Protrusions Oh My:

Allen also expresses the concept of building from the bottom up as opposed the top down. To consider figure and ground, not separate static entities but more closely linked. To think of figure as what can emerge from the ground, in peaks, summits, etc. What difference does this creates between the figure and ground and consider what that does for the relationship between the two. What does this change in relationship mean for the overall composition, what opportunities does it create, or take away. It makes one ponder if it’s also possible to consider the ground as a dip or valley, what could expanding on that do for an architect’s design?

Flocks, Schools, Swarms, and Crowds

Growth, Equality, Density, Direction and other Clever Things:

Lastly Allen brings up some interesting points about flocks and crowds, and how that group behavior can inform a composition. Considering how a set of rules direct a design composition’s singular elements on the local level, with each individual element following it’s own orders. Despite all elements acting on their own accord, the group follows a pattern and flow, and can adjust as needed. Both crowds and flocks use movement, however crowds offer a duality. They can be open or close, stage or lively, and also follow their own of rules. They want to grow, they seek to be equal, come in differing densities, and need direction. This is especially valuable information when designing a concert venue or amphitheater. Mapping what movement and how that movement can affect user experience is big part of what makes a successful  design.