phological variations ate endless, Social and symbolic connotations characterize the third relation, we shal alli fornow the programmatic sequence! (ne customary mode of architectoral drawing already m= ples a transformational sequence, Suceesive layers trans arent tracing paper are lid one upon another, each with ts respective variations, around a basic theme or parti Each subsequent reworking lead to oF refines the organizing rin ciple, The process generally based on intuition, precedents, and hab ‘This sequence canals be based on a precise, rational set of transformational rules and discrete architectural elements “The sequential transformation then becomes is own theo retical objet insofaras the process becomesthe esl, while the sum of transformations counts at last a9 much asthe ‘outcome ofthe final transformation. “Transformational sequences tend to ely on the use of de ces, ores of transformation, such as compression, rota tion, insertion, and transference. They ean also display particular sets of variations, multiplications, fusions, repe titions inversions, substitutions, metamorphoses,anamor- hoses, dissolutions. These devices ean be applied to the ‘ronsformation of spaces as well programs ‘There are closed sequences of wansformation aswell as open ones. Closed ssquences have a predictable end ease the chosen mies ultimately imply the exhaustion of « process, ‘te cirularity, ots repetition. The open ones are sequences ‘without closures, where new clementsof transformation can be added at will according to other entra, suchas concur rent or untaposed sequences of another onder—say, a area sive of programmatic stractre, juxtaposed to the formal transformational struct Roland Barthes, the Structural Analysis of Nomratives: defining a sequence: “A logieal succession of nuclei bound Logether bya relation of solidarity: the sequence opens when ‘one ofits terms has no solitary antecedent and closes when another of its terms has no consequences. Sequences of spies, configuretionsensuite, enfilades, spaces aligned along a common axis-all ar specie archi recturl organizations, om Egyptian cemples through the churches of the quateracent tothe preset. All have em pasiaed a planned path with fixed halting points, «family of spatial points Keke by continuous movement. Sequences of tuansformation and sequences of spaces rarely incerect, of architects carefully distingoished means of Inception from end product through a sor of discrete re straint that doesnot revel the makers arfics in the Boal result and favors the certainty ofa well-defined axis over the ssionate uncertainties of thoughtspatial sequences ean be obviously manifest differences of -seametical fr (the Villa Adriana, they can alo difer by dimension alone, while maintaining similar geometical form (the Ducal Palace at Urbinol. They can even steadily ‘increase in complexity, be eonseracted,step-bystep—or de constructed—accondng to any rle or device. Spatial transformations can be included within the time se quence—for example, through continuous scenery such 25 Frederick Kieser's 1928 space stage et for Eugene O'Neil’s pers Jones Ligh Moret, writing on the spatial sequences and abstract relationships of Pllaio's Palzzo Thieme in Vicenza: "In their pure dimensions the sequences can be equated graph ielly as icles whose radi are proportional tothe sphere corresponding im volume to each surrounding and whose center coineides with the center of gravity of the volume itself nd ie marced atthe distance which in proportion this ‘enter has from che base plane ofthe spaces tha Is from the level of he plineh."* Spatial sequences can also display mixed formal devices. Moret gain, writing on Pallado’s Villa Rotunda “in the Aeasity of light, ehe volumes go from portico to hall inthe ‘onder of maximum to minimum, while i dimensions, the ‘orders medium, least, cates.” Yer architecture is inhabited: sequences of event, use, 2 tivities, indents are always superimposed on chose fixed spatial sequences. These are the programmatic sequences thot suggest secret maps and impossible ctons, rain collections of events all strung along a collection of spaces, frame ater frame, room fer room, episode afer episode Is there ever causal ink betwacn a formal system of spaces anda system of evens! Rimbaud wondered whether vowels possessed colors, whether the leer a was red or blue. Sim- ily, docylindreal spaces go with eligion and rectangular ‘ones with industry! Isehere ever « homology between sys: tems, 4 one-to-one relationship between space and event Ietween form and function, wo systems that evoke and attract one another! _Adling events tothe autonomous spatial sequence is form of motivatian, in the sense the Russian formalist gave to _monivaton, chats, whereby the “procedure” and its devies re the raison dre of iterate, and “content” is a ssl «posterior justification of form, Alternately, ailing space o the anconomous sequence of ‘events a reverse form of motivation? Or ist merely an ex: tended form of programmation! Any predetermined se -queneeof events can aleays be turned into «progam. Program: “a descriptive noice, issued beforehand, of any formal series of proceedings, as festive celebration, accuseof atudy ete. ...,alistof the items or ‘numbers’ ofa concert, ce, inthe ordera performance, hence the tems themselves collectively the performance 36a whole... Programs all ito thre categories: those that ate indiferent ‘othe spatial sequence, thos that reinforce, ad those hat work obliquely or agains it Indifference: sequences of events and sequences of spaces ‘an be larly independent of one another—say assortments ‘of exotic stalls among the regular columniston of the 1851 Crystal Palace: One then observes a strateey of inference In which formal considerations do not depend on weilitrian ‘ones. [The battalion marches onthe fields) Reciprocity: Sequences of spaces and sequences of events an, of course, become totally interdependent and fully com dition each other's existenee—say “machines @habiter”ideal Werkbund kitchens, spaceage vessels where each c= tion, each movement is designed, programmed. One then serves strategy of reciprocity in which each sequence sctually reinforces the other—the sort of sreitectral eu tology favored by fancionalise doctrines. (The skater skates ‘on the skating ink) Conflict: sequences of event and spaces occasionally clash ‘and contradict eachother. One then observes a stratepy af ‘conflict in which each sequence constantly transpreses the ‘other's internal lagi. The bstaion skates on the tightrope) In hemsives, spatial sequences are independent af what happens in them, Yesterday I cooked inthe bathroom and slept in the kitchen They may coineie fora shorter or longer period. As sequences of events do not depend on spa til soquences jand vice versal, both can fom independent systems, wich thelr own implicit sehemes of pts Spatial sequences are generally structural eat i, they ean be viewed or experienced independently ofthe meaning they ay occasionally evoke. Programmatic sequences are gen cally inferential, conclusions or inferences can be dawn, from the events or the “decor” that provide che sequence’s ‘ommotative aspects. Such opposition i, of couse, quite ar tific, these distinetions do no exis separately. vents “take place.” And agoin. And again “Telnessity of sequences ders events, movements, paces into a single progression that either combines or pales divergent concems, fe provides “Security” and atleast one overriding rule against architectural fears [Not all architecture is linear, nor is it all made of spatial ditions, of detachable parts and clay defined entities (Circular building, gid cites, as well as accumulations of fragmentary perspecuves and cities without beginnings or cen, produce scrambled structures where meaning is de rived fom the order of experience rather than the order of composition Mies van der Res Barcelona Pavilion: dissociation, ra ‘mentation of unitary space. There is one sequence of direct vision and one for the experience ofthe body where a set of Indeterminate and equivocal articulations suggests «rule plicity of realngs ls spatial sequence is nevertheless orga sized around a thematic structure, series of vssatons round a Limited numberof elements chat pay the role of the fundamental themne—the paradigm, ‘By onder of experience, one speaks of time, of chronology, of repetition, But some architects ate suspicious of time and ‘would wish their buildings to be read at a glance, like balboa ‘Sequences have emotional value. Moret gain, discusing St. Peter's “presure (access doors, Iimized iberation[stom opposition atrium wall), very short pressure (ba silica door) total liberation transversal of nave, inal eon emplacion (space of ental system)" Like snepshts ot key moments in the making of architec- ture, whether in the procedure or real space, Like aseies of frozen frames. 1 the spatial sequence invitaly implies the movement of an observe, then such movement canbe objectively mapped nd formalized sequentially, Movement notation: an ex ‘cnsion om the dan conventions of choreography, i at ‘tempts to eliminate the preconceived meanings given to particular actions in onder to concentrate on their spatial sffces: che movement af bodies in space (dancers, football cs, arobats) For Lautréamon, 10 move is never to go from one place to the next, but always to execute some figure, Jo assume a cettin body shythm. "He is running away... hee running way.” Or “the mad woman who passes by, dancing s E ™ Space ven Movetnent ‘he final meaning of any sequence is dependent on the te lasionspace/event/movement. By extension, the meaning of any architectural situation depends on the relation § EM, ‘The composite sequence SEM breaks the linearity ofthe elementary sequence, whether 8, , oF M But architerural sequences do not mean only the reality of sctul buildings or the symbolic reality of the Resins. An Smpled narrative is always chee, whether of method, us, for form. Ie combines the presentation of an even or chain cof events) with its progressive spatial interpretation (which ofcourse ales it, Such, or instance, are rituals and their routs of initiation wher, from points of entzy to point of arrival, successive challenges awalt the new candidate. Here, the order of the sequence is intsinsie. The route is more important than any one place along it Atul implies near frozen relationship between epace and event, [institutes «new order against che disorder it sms to avoid. When st becomes necessary to mediate the retween eventsand spaces and fx it by custom, then no single fageent must escape attention. Nothing strange for unexpected must happen, Control must be abso Paral contol is exercised through the use of the frame. Each frame, each part ofa sequence qualifies, reinforces, or alters the parts that precede an follow it. The associations so formed allow for plurality of interpretations rather than 4 singular face. Each pares thus Both complete and incom plete. And each parti a statement aginst indeterminacy Indererminaey isslways peesentin che sequence, respective ‘ofits methodological, spatial, or narrative natureGap / closure J gap J closure gap Fclosure Istheresuchathing at an areitectural native Anarative ot only presupposes a sequence but alo a language. AS we all know, the “language” of architecture, the architecture “hat speaks,” isa controversial matter. Another question: If such architectural narrative comesponds co the narrative of literature, would space imersect with sigs to give us a aiscourset The ability to translate narative from one mediue eo an- other—to teanslate Don Juan into a play 4 flim or comic strip—suggests architectuel equivalences, oper, a bale, ‘sivalences that arenot made by analogy toan architectural strip ofcourse, but through carefully observed pall. Te ragi’s Dante does not tell as a story of events but re ‘minds us about the temporality of a search—the impossibility of being at sever places at the same time—a special typeof allegory wherein every element initially com responds toa physical reality. ‘The use of loc may suggest the sense ofan ening an end to the overall organization. I superimpose «conclusion to the open-endedness of the transformational [or methodolog ical) sequence, Whenever a program or "plot (the single family house, or "Cinderll"| is well known fs are most architectural programs, only the “retelling” counts: the “elling has been dane enough Sequence (ater JL Godard) “Sarely you ase, Mr. Arch tect, that buildings should have a base, @ middle, and a top!” “Yes, ut not necessarily in that onde: In literature and inthe cinema, sequences ean be manip late by such devices as lashbacks,crosscuttngs close-ups, and dissolves. Are che inclusions of baroque details inthe ‘modem architectural sequence... emporaty flashbacks? Foums of camposition: collage sequences (cllisions)or mon tage sequences progressions) Contracted sequences fagment individual spaces and as tions into diserete segments. a this manner, we might see the beginning of use in space followed immediately bythe beginning of another in @ futher space. Contracted se- quences have ocessonaly reduced architectute’s thre di ‘mensions into one jLe Corbusir’s Villa Stein at Garces) ‘The expanded sequence makes slid ofthe gap between ‘spaces. The gap thus becomes a space ofits own a comido, hzeshoi, or doorstep—a proper symbol inserted between ‘ach event (John Hejduk’s Wall House). Combinations of expanded and contacted sequences can form special series, cither coordinated o ehythmical, All sequences are cumulative, Tair deve sini ‘ance from juxtaposition. They establish memory—ol the preceding fame, ofthe course of events. To experience and to follow anarchteceural sequence iso reflet upon eventsfn onder to place them into successive wholes. The simplest sequence is always more than aconfiguraton-en-suit, even ‘there is no ned to specify the nature ofeach episode, Frame: the moments of the sequence. Examining architec: ture frame by frame" as though a flmediting machine Frames are both the framing device—eonforming, rela solid—and the framed! materil-questioning, distorting an displacing. Occasionally che framing device can ise become the abject of distortions and dhe framed material be conforms and onder. ‘he rame permits the exreme formal manipulations ofthe sequence, fr the content of congenial frames ean be mixed, superimposed, dissolved, or cut vp, giving endless posibili tiesto the narative sesuence. At the Hint, these material ‘manipulations can be classifi according to formal stra ies such as repetition, disunetion, distortion, dissolution, or insertion. For example, devices such asthe insertion of axlitional cements within the sequence can change the ‘meaning ofthe sequence as well a its impact on the expe: iencing subject, sin the wellknown Kuleshow experiment, Wire the same shot ofthe actor's impassive fae is into duced in variety of situations, and the auience ead dit ferent expressions in each successive juxtaposition Parameters that remain constant an passiveforthe durtion ofthe sequence can be added and transfered, as whena givenspatial configuration (the “clrcle"| repeatedly passes from frame to frame, from room to room: a displacement. All transformational devices repetition, distortion, ete ean apply equally and independently to spaces events, a move- ments. Thus wecan havea repetitive sequence of paces (the successive eourtyatds of « Berlin block coupled with an ddiive sequence of events [dancing inthe Best cout, fight {ngin the secon skating ee tied), Altematively, of couse arehitactual sequences can also he ‘made strategically disianetive (the pole-wauler in the catacombs)