Minimal Grammar

Compact Architectural Course

1. Theory

Chapter 1.1: Introduction to Architecture as Language

The Role of Architecture in Shaping Our Aesthetic Judgment

Architecture, like language, has a powerful ability to communicate without the use of words, or rather, through the use of its own vocabulary. Through nuances, rhythms, and contrasts, architecture establishes a dialogue among elements that can be interpreted like a story.

Each spatial element has its own “voice,” whether it’s a pillar supporting a wall, a window allowing light, or doors inviting entry. In this dialogue, architecture shapes our perception of the environment, creating an ambience that can be inspiring, mystical, or even enigmatic.

Through form, context, and function, architecture speaks the language of symbols. Each element carries deep semantics, from traditional symbols to specific references. Through this symbolism, architecture becomes more than a physical phenomenon—it becomes a narrative connected to collective experience.

The fundamental role of architecture in shaping the environment makes it a key language (tool), through which we can transcend the mundanity of everyday life and establish a relationship with something greater. “Man is a city in miniature” B.B. These terms speak with a silent language, yet a powerful image, of architecture as an intellectual construct with allegorical values and moral messages.

Considering its mode of participation, architecture constructs internal aesthetic norms within us—introtectures. Internal laws by which we determine relationships of completion-incompletion, balance-load, open-closed, etc. These aesthetic laws extend deep into our subconscious, hence the constant presence of houses, squares, and magnificent buildings in our dreams. In dream analyses, Jung often compares the house to the psyche, showing the importance of architecture through which the subconscious communicates or self-explains. Ultimately (even through dreams), architecture is an objective reference to human participation in the world of nature (both conscious and subconscious), making it one of the fundamental human extensions in the history of civilization.

Chapter 1.2: Symbolism of Oppositions

In architecture, the symbolism of opposition represents a language that transcends the physical characteristics of space and ventures into the realm of abstract meaning. Oppositions, such as open-closed, fluid-static, or light-dark, become key elements of architectural grammar. This (tripartite) structure of dual terms (thesis – relation – antithesis) portrays the phenomenon in its entirety.

The presence of oppositions in architectural language is not merely a matter of grammatical logic but also of profound semantic richness. For instance, the contrast between broken lines and straight ones can symbolize the relationship between chaos and order. These oppositions communicate with the viewer on an intellectual level by assigning concrete meanings to concrete forms, thus creating new terms recognized later as sentences or linear narratives.

The symbolism of opposition is not strictly confined to visual antonyms. These contrasting sets can be viewed as conceptual ideas such as balance, opposition, and diversity. Through understanding this symbolism, architects become storytellers who surpass material reality and build bridges to universal principles that shape our understanding of aesthetics and ethics.

Chapter 1.3: Architecture and Psychology

The effect of space on the human psychological state is de facto evident. Depending on specific needs, space can stimulate productivity, relaxation, interaction, etc. For example, a space with plenty of natural light and open vistas often evokes a sense of expansiveness and freedom, while well-designed enclosed spaces can provide a feeling of security and intimacy. Both fulfil the task of a “study”, but depending on the preferences and character of the user, the choice is radically different.

The psychology of space deals with the concepts of privacy and social interaction. Like private and public personas, the balance between openness and closedness is a significant factor in creating thoughtful environments. The balance between opposing sides of the same set is a relationship that the architect strives for. Architecture becomes a formative medium that responds to our mental needs, inviting us to connect with space on a level that transcends physical dimensions and seeks overlaps with metaphysical laws.

Architecture and the psychology of space are closely intertwined, making our homes, workplaces, and public spaces reflect our emotional contents, our historicity, our tendencies, human creativity, and ultimately divine principles. As Jung also says, “Consciousness is historical.” Through a versatile approach that takes into account psychological aspects, architects become concept-builders of spaces that not only meet functional requirements but also establish reference frameworks through which the psyche moves and individualizes daily.

Chapter 1.4: Archetypes in Architectural Expression

Archetypes, universal symbols and forms present in the collective unconscious, are the foundation of architectural grammar. By using archetypal images, architects can establish deep connections between space and humans, creating architectural expressions that resonate on an inherently spiritual level.

One frequent archetypal image is the “oasis,” which represents a place of safety and renewal. This archetypal image can be recognized in images of relaxation spaces, such as inner courtyards or green roofs. The use of the archetype of “journey,” or man as homo viator (man as a traveler), can be reflected in spatial arrangements that lead users through a dynamic series of rooms, creating an experience of traveling within the space itself or a journey through oneself. Individual architectural elements carry specific archetypal narratives: Staircases as symbols of individuation (especially spiral ones) | Chimneys as symbols of alchemical transformation (Santa Claus comes down the chimney) | Doors and windows as the boundary between the outside and inside, and their transit points | Basements as exponents of the subconscious | Rooms as exponents of the Psyche | Closets as symbols of intimacy, etc.

Archetypal signs, like the circle representing wholeness or the square referring to stability, provide architects with powerful tools for communicating specific principles. For example, a circular form can dominate the design of an art center, reminding visitors of the cyclical and continuous flow of creativity and inspiration. On the other hand, square shapes, with clear sides, can be emphasized in the construction of institutions that wish to convey a sense of stability and order, such as a bank or a legal institution.

The use of archetypes, or better yet, the interpretation of archetypal representations in architectural expression, opens doors for deeper understanding between creators and the created; the created and the understood. Architects become translators of collective symbols into material realities, creating architectural poetry that transcends current trends and leaves a lasting imprint on the map of human memory.

Chapter 1.5: Architecture and Philosophy

Architecture, as the language of space, often acts as a physical realization of philosophical concepts, conveying thoughts and ideas through forms and structures. This connection between space and meaning expands the boundaries of perception and redefines architecture as a narrative discipline that can carry moral messages.

One philosophical concept often present in architectural works is the idea of “unity in diversity.” A well-crafted architectural language places this “diversity” under a unified (stylistic) roof. This “style” is not an aesthetic shell that envelops the form but is a visual, rhythmically articulated, systematically derived reflection of philosophical-aesthetic values.

An aesthetic-logical system, which recognizes and understands all aspects of its values, serves as an objective foundation on which the first line is drawn—the Initial Context.

Architecture is an artistic reflection on the relationship between the individual and society, history, and the future. Architecture, in its first definitions, is a mirror of the epoch in which it was built. Parametricism, deconstructivism, neo-structuralism, etc., are just some of these modern mirrors. Throughout history, from antiquity to the Renaissance, from the Renaissance to modern times, architecture writes its self-portrait, which is also the self-portrait of humankind. From simple windows and doors, through columns and arches, to ornaments and sacred meanings, architecture, like Plato’s Republic, becomes a picture of man on a large scale. Enigmatic Image, full of complexities and anomalies, which in its core strives for balanced meaning.

2. Process

Chapter 2.1: Constructing Narratives

Client stories become the inspiration for space, and their aesthetic judgments and references are the initial context of our creation. Aesthetic judgment here should not be taken in narrow definitions. It ranges from immediate aesthetics (preference for sweet or salty food) to metaphysical sympathies.

Eidetic Dictionary

In the creative process of architecture, research, conceptualization, and transformation of ideas into spatial realities are key steps. In this process, the Eidetic Dictionary plays a crucial role as a morphological study of the development of the Euclidean language of architecture. Through this approach, designers use geometric shapes and symbols to represent complex ideas and concepts. Here’s how this process works in minimal grammar, thus a simplified exponent:

Identification of Opposites: Start by identifying pairs of geometric shapes that differ, such as squares and circles. These pairs represent opposing concepts or ideas, such as stability versus change.
Assigning Meanings: Once the opposing pairs are identified, assign symbolic meanings to each shape based on their inherent attributes and associations. For example, squares can symbolize tradition, while circles can represent innovation.
Combining Shapes: Arrange the shapes into meaningful compositions that convey deeper layers of symbolism and narrative. Experiment with different arrangements, such as placing a circle within a square or overlapping shapes, to explore the dynamic relationship between opposing concepts.
Creating Narratives: Use these arrangements to construct allegorical narratives or stories within architectural designs. Each composition tells a visual story, conveying complex ideas and themes through the language of geometry and symbolism. For example, a circle breaking out of a square can signify the need for change in the current status quo, or its breakthrough.
Refinement and Iteration: Continuously refine and iterate the compositions to ensure clarity, coherence, and effectiveness in conveying the desired ideas and narratives. Seek feedback from colleagues or stakeholders, evaluate the compositions against established design principles, and make adjustments as needed to enhance the visual and conceptual impact of the design. The goal of these translations is objectivity (in assigned semantics) and coherence in relationships.

Chapter 2.2: Architecture as Reflection – Definitions

Postulate 1: Architectural Algorithm in Practice

Architecture is a reflection. Reflection is a mirror of the present filtered through the lens of historical knowledge (the past). The duty of architecture is to create a harmonious relationship between the historical and the contemporary. The schematism and dynamics of this relationship are recognizable both in architecture and in humans. Thus, architecture, as an extension of man, should be a place where man recognizes himself.

The human extension is not, nor should it be, arbitrary. “No one is good by chance; virtue must be learned,” Seneca.

To transfer value, the value must have its language.

Postulate 2: Story-Telling-Design: Notation of Meaning

“Narrative Design” is a space that transcends arbitrariness by creating structural narration. The design thus becomes a transmitter of semantics or meaning. A new narration is articulated through ideas.

Postulate 3: Heuristic Game

It is known that our subconscious detects, analyzes, and processes most of the stimuli and phenomena that surround us (context/discourse). Simultaneously, consciousness resonates with a small part of external bits (selection). Narrative Design erases this invisible line of separation between the conscious and the unconscious by introducing eidetic (visual) logic or the visibility of causal relationships. The system (design) is created by conjugating the smallest particles (morphemes) according to visual, logical laws, and their progress can be tracked to their resolution. By following the multiplication from the original unit to the final design, it is possible to trace the laws and use them as a basis for thinking—visual logical analogy. This pattern is evident in any inductive or deductive scientific analysis. As a pictorial representation of the scientific modus operandi, design, as a principle, is a constant reminder of the interrelationships of values, their dynamics, variations, and final solutions. The design thus becomes more than the sum of its parts and becomes an original ornament. Design becomes a new concept.

Postulate 4: Educational Apparatus

Educational apparatus – The Big Picture – The same pattern that applies to music, a sentence, a book, or a movie, applies to visual stimuli. A child looking at a shape that is planned, not arbitrarily obtained, and that stands in a systematic relationship with the whole (macro-image) offers a structural experience of the phenomenon, i.e., it’s understanding on the level of visual logic from beginning to end, from detail to totality, from multiplicity to one, and vice versa. This is an insight into Totality or Wholeness. An insight into the Big Picture recognized through cause and effect. Systematic subconscious connections of larger images with smaller ones teach children comparative analysis and derivations, i.e., recognizing universal patterns. Participation in this type of visually-imaginary heuristic game encourages structural creative thinking by assigning basic directions.

Postulate 5: Horizon of Expectations

The user as a writer of new stories – Interpretation of a work of art. A story can have multiple narratives, and their number is limited only by the observer’s imagination and eloquence. Design is a phenomenon of “ego in the mirror,” and as a reflection of ourselves, it provides new conclusions and perspectives that unfold before our eyes in the space that surrounds us. Architecture, as a psychological self-portrait, reminds us of the principles embedded in it and, as such, functions as a driving idealistic image – the image of the Hero.

Postulate 6: Critical Regionalism

Architectural design is a “living” system that has its history. This historicity is the given context. The embodiment of the genius loci becomes the primary formative language, existing as the first grammatical law in the creation of architectural morphemes. The final instance (morpheme) should offer a novum (replica), not just be a continuation (affirmation) of the given architectural sentence. This novum is a condition for progress.