Glenn Murcutt: Thinking Drawing, Working Drawing
... Not an imposition" MURCUTT, Glenn. (2008) 4 ...
Actionscape" is defined as a movement that seeks to actively connect the viewer, or citizen, with the stage, whether it is an urban or natural environment. Places where to develop diverse actions. The landscape, the environment in which we move, thus becomes a flexible element that can be altered by the citizen himself. Actor and owner of his actions, the citizen has the capacity to transform his reality, individually or collectively. By small scale actions, defined as scale one, intermediate size called scale two, or finally as large scale actions, scale three. The role of the architect or the urban planner in these actions is fundamental to guide and organize the ideas and desires of the citizens. Its function is not only to propose an idea, but to listen and observe what happens in its environment, to propose, from the discipline of architecture, strategies and tools that allow the "actionscape" proposed by the citizen to be done in a much more intense way. The design of the cities must incorporate the demands of its users, the citizens, in such a way that when they are implemented, they are themselves who can actively participate in many of them.
... The elevations were drawn with consistent graphic conventions following the standard procedure for selection of significant lines for 'detail design', where 'design' is taken to include not only decisions about form and materiality but also movable or tertiary forms and fixed-furniture which directly support inhabitation (Ostwald and Vaughan 2013b). The drawings used for the analysis were all digitally re-traced from published working drawings (Drew 1985; Beck and Cooper 2006;Frampton 2006;Gusheh 2008;Murcutt 2008). The particular variations of the method used are as follows (see Table 1 for abbreviations and definitions). ...
Historians and critics argue that a key characteristic of late twentieth century Australian regionalist architecture is the close visual connection it creates between the interior and the landscape. While various design properties are allegedly responsible for this connection, one of the most tangible of these is associated with the use of transparent and layered elements in a building's façade. Indeed, as exemplified in the work of Glenn Murcutt, the importance of façade transparency is a recurring theme in Australian architecture. But is it really that significant? In this paper, computational fractal analysis is used to measure the difference between the visual complexity of opaque and transparent depictions of façades. By comparing these two façade conditions, first in sets of elevations derived from 10 of Murcutt's houses and then in a detailed review of one of Murcutt's most iconic works, the Marie-Short House, this paper calculates the visual impact of transparency on the characteristic complexity of Murcutt's architecture.
... The elevations are drawn with consistent graphic conventions following the standard procedure for selection of significant lines for " detail design " where " design " is taken to include not only decisions about form and materiality but also movable or tertiary forms and fixed-furniture which directly support inhabitation (Ostwald and Vaughan, 2012). The drawings used for the analysis were all digitally re-traced from published working drawings (Drew, 1985; Beck and Cooper, 2006; Frampton, 2006; Gusheh, 2008; Murcutt, 2008). The particular variation of the standard method used is as follows (seeTable 1 ...
Computational fractal analysis calculates a numerical measure of the characteristic visual complexity present in a building’s elevation or plan. In addition to measuring a building’s visual complexity, this method allows for comparisons to be made between different formal properties in the same building. The focus of the application of this method in the present research is the work of Australian architect, Glenn Murcutt. A recurring theme in Australian Regionalism is the relationship between the building interior and the landscape; a relationship which is enabled through the transparency or layering of elements in a building’s façade. Fractal analysis is typically only applied to representations of buildings with opaque surfaces. However, the work of Murcutt presents an opportunity to analyse architecture as it would be perceived in different ways. To do this, the paper computes and then compares the fractal dimensions of two sets of the elevations of ten of Murcutt’s rural houses. The first set treats the building façades as opaque while the second set includes views through open doors and transparent windows or screens. The results of these two tests are then compared to determine if there is, as Regionalist architects maintain, a significant difference in the visual character of the two options.
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