(Georgia Institute of Technology, 2023-12-06)
Park, James
Mies van der Rohe’s Everett McKinley Dirksen United States Courthouse in Chicago built in 1964 is arguably one of the most significant buildings in the history of judicial architecture in the United States and abroad because of its transformative role in the formulation of the conventions underlying contemporary courthouse design. Archived in the Mies van der Rohe Archive at the Museum of Modern Art New York, a significant resource associated with the design of the courthouse is the extensive documentation of the design process at the office of Mies. This body of work consists of 135 sketches, diagrams, and drawings, features alternative solutions, variational schemes, and sectional innovations, and provides an untapped resource to allow a closer look at the expressive range of the architectural language and the technical innovations proposed by one of the most influential architects of the twentieth century.
The research takes on the Mies van der Rohe Archive and begins to flesh out the implicit design possibilities that the preliminary representations from the design process of the Dirksen Courthouse present: Are all these possibilities parts of the final scheme that was promoted in the end? If not, are there common themes that pervade each one of them? How important are some design ideas that belong exclusively to some of them but did not appear in the final design? To speculate these in depth, how much effort would it take to complete each of the design variations outlined by the preliminary representations? Can they be completed given the clues in the final design? If not, is it because they are not productive or they are just not compliant with the final scheme? In the end, how significant is this design process to contemporary courthouse design?
The work here attempts to address these questions through a formal specification of a shape grammar that foregrounds common characteristics and unique ideas presented in the set of preliminary representations. Ambitiously, the work proposes a formal reconstruction of the final courtroom floor plan of the Dirksen Courthouse and an automated completion of the preliminary representations of key courtroom floor design variations from the design process of the courthouse, materializing the unrealized possibilities embodied in them. More specifically, a generative description of Mies van der Rohe’s courthouse design language is presented in the form of a shape grammar designed and implemented in the Shape Machine, a pioneering recursive shape rewriting technology. The grammar is proposed as an open-ended set of shape rules that can be readily expanded to complete an increasing number of design variations documented in the archive and generate some hypothetical ones that can be, in principle, generated by this dynamic grammar. Significantly, at any moment, new shape rules can be introduced seamlessly, as an intrinsic part of the design process of the grammar, without requiring the reformatting of existing rules or advocating the design of a singular Miesian grammar. The work concludes with a critical assessment of the sequences of the rule applications for the generation of complete courtroom floor plans.
The contributions of the dissertation are (a) a generative description of Mies van der Rohe’s courthouse design language in the form of a shape grammar that is designed based on the final design of the Dirksen Courthouse and its design process documented in the Mies van der Rohe Archive at the Museum of Modern Art New York; (b) a formal reconstruction of the final courtroom floor plan of the courthouse; (c) an automated completion of the preliminary representations of key courtroom floor design variations from the design process of the courthouse; (d) a critical account on the significance of the design process of the courthouse in the contemporary courthouse design discourse with an emphasis on the innovative sectional idea of the courtrooms as an unrealized possibility in the making of the final courtroom floor plan, which still remains to be rediscovered in the designing of new courthouses; and (e) some speculations on the significance of the computational method developed for the research in the field of shape computation and on its potential role in bridging the gaps between sketching, diagramming, drafting, and modeling in the digital workflows of architects and designers.