Typology is a commonly used method for understanding and suggesting a certain style in architecture. For instance, in the book A Field Guide to American Houses, McAlester (1984) uses this method to establish the architectural styles of American houses. Through data collection by means of field studies, classification of the samples based on similarities in architectural features, and analyses of the groups of samples, they categorized domestic houses into several styles that could be referred to in practical architectural applications.
Abu-Obeid (1993), Kwun (2001), Argan (1996) and Colquhoun (1996) all note that typology is a useful method to help people understand architecture. This notion stems from the symbolic and communicative values of typology, which has bearing on the tendency to consider architecture as language in cognitive psychology (Abu-Obeid, 1993). Interestingly, the symbolic value of typology is rooted in the culture and history of any given population group (Argan, 1996).
…when a type is determined in the practice or theory of architecture, it already has an existence as an answer to a complex of ideological, religious, or
culture (Argan, 1996:243).
Like the prototype, typology is also the outcome of analyzing a building in terms of basic design components by averaging existing architectural features which appeals to people in the form of a “mental abstract image” (Abu-Obeid, 1993:146; Argan, 1996;
Kwun, 2001). The cognitive nature of human beings elucidates the usefulness of typology not only for architectural design but also for architectural perception (Abu-Obeid, 1993; Argan, 1996; Colquhoun, 1996; Kwun, 2001). Abu-Obeid (1993) and Kwun (2001) claim that architectural typology can work as a design guideline for solving spatial problems. Furthermore, they value it as a cornerstone of creative design.
While the usefulness of architectural typology for architectural professionals is supported by Abu-Obeid (1993) and Kwun (2001), its usefulness for the public is confirmed by Mahdjoubi and Wiltshire (2001). In their article, Towards a Framework for Evaluation of Computer Visual Simulations in Environmental Design they address
the importance of the representativeness of suggested images to increase the lay persons’ understanding of a computer simulation of a space. They suggest that basically lay persons prefer photorealistic images while architects prefer abstract images. However, the quality of computer simulations does not depend on the degree of their similarity to the real world.
Consequently, by representing an architectural space, a typology could be an effective
tool for measuring the public perception of a space. In particular, the usefulness of typology in religious architecture is supported by Argan (1996) claims that in religious architecture, the typology could be developed more easily than in any other building type; and that the developed typology could work as an effective design tool.
Religious architecture which answers demands rooted in the past has resulted in typological repetition or in attempts at freeing the artist of all typological precedent (Argan, 1996:246).
To constitute a set of typologies from the 16 samples, the important architectural features that are pertinent to the new uses (building types) were analyzed (Figure 34:
II). It should be noted that this study examines only the changes in the interior space, since the exterior fabrics of historic churches listed on the National Register hardly undergo any alteration as per the Secretary of the Interior’s Standards. The reason is partially derived from the notion that the public is concerned only with the preservation of the exterior fabrics of their historic buildings (Mavis, 1986).
FIGURE 34. Procedures of creat ng the prototypes and typologies i
Figure 34: III illustrates the development of the typologies of changes in critical architectural features. The interior changes were analyzed by referring to existing texts, pictures, and photographs describing the design intention and subsequent changes.
First, the study developed a list of architectural features considered in the interior changes (e.g., floor level, wall, vaulted ceiling, atrium, artificial light, natural light, clerestory, duct work, pews, altar, etc.). Second, the list was categorized into five groups that consist of common architectural characteristics (e.g., interior volume; light quality; interior finish; HVAC system; and furniture and specific features related to worship). Finally, the degrees of change in each feature were marked.
Table 1 shows the spectrum of changes and their variations (e.g., no change, minor modification, additions, relocation, and removal). Throughout this procedure it is noted that two architectural characteristics (interior volume and light quality) were considered the most important by professionals. Subsequently, the changes were summarized as minor or major changes in interior volume75and light quality.76
Based on the analysis of Table 1, the typologies of changes were created as one point perspective images using AutoCAD.77 One point perspective was used to represent the symmetric characteristics of the church. The views of the converted church interiors from the entry spaces were drawn. To increase the three dimensional feeling, tones and different line weights were added to the drawings; to understand the interiors, the perspectives of the second floors that are invisible from the first floors were generated as separate drawings. No colors were added to the perspectives except for yellow and
TABLE 1. Architectural features and their changes according to building type changes (derived from the sample churches listed in the National Register)
blue to represent lighting; this was intended to make light quality changes more easily perceivable by subjects. Photographs of lighting effects as relevant to the changes were included in the typology images to provide more realistic explanations of light quality changes.