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Studies in Tectonic Culture : The Poetics of Construction in Nineteenth and Twentieth Century Architecture / K. Frampton ; ed. de John Cava ; pról. de Harry Francis Mallgrave.
Abstract
Estudio sobre la arquitectura de los siglos XIX y XX, cuyo autor traza su historia como la del desarrollo de la poética de la estructura y la construcción. El recorrido atraviesa el estilo neogótico y a seis de los principales autores de la arquitectura de esos dos siglos: el norteamericano Frank Lloyd Wright (1869-1959), el belga-francés Auguste Perret (1874-1954), el alemán Ludwig Mies van der Rohe (1886-1969), el estoniano-norteamericano Louis I. Kahn (1901-1974), el danés Jørn Utzon y el italiano Carlo Scarpa (1906-1978), cuyas obras muestran cómo para ellos la forma de la construcción y el carácter del material fueron elementos integrales para el desarrollo de sus personales expresiones arquitectónicas.
... Kenneth Frampton (1990;1995) considera a tectônica como um dos princípios essenciais à autonomia arquitetônica vinculando ao conceito de topos e typos, exaltando à poética construtiva e a consciência do lugar na ação de criar e revelar. A importância dada por Frampton à dimensão tátil da arquitetura é estabelecida pela relação entre o corpo, o sítio (o topos) e a obra construída, da qual decorre o fundamento teórico sobre a importância fenomenológica da especificidade do lugar para a arquitetura, a importância do ato de conhecer o lugar como ponto de partida da arquitetura, que está presente em Gregotti (1985) e na prática projetual de Tadao Ando, a quem Frampton recorre em seu texto. ...
... A importância dada por Frampton à dimensão tátil da arquitetura é estabelecida pela relação entre o corpo, o sítio (o topos) e a obra construída, da qual decorre o fundamento teórico sobre a importância fenomenológica da especificidade do lugar para a arquitetura, a importância do ato de conhecer o lugar como ponto de partida da arquitetura, que está presente em Gregotti (1985) e na prática projetual de Tadao Ando, a quem Frampton recorre em seu texto. Para Frampton (1995) as percepções sensoriais humanas provocadas pela ambiência arquitetônica criada e materializada de modo expressivo e simbólico são apreendidas por outros sentidos que ultrapassam o sentido da visão, transcendendo o estético e o funcional em nossas percepções. Nesse sentido, como coloca Juhani Palasmaa (2011, p.23) "apesar de nossa preferência pelos olhos, a observação visual precisa ser confirmada pelo tato". ...
... Elas atravessam o espaço do vão livre, fazendo com que a estrutura seja mais esbelta. O detalhe da transição entre os materiais reforça a transição na dicotomia pesado/leve identificada por Frampton (1995) na relação stereotomic/tectonic de Semper, potencializando e demonstrando a diferença entre a capacidade de sustentar com menos seção entre os dois materiais (Figura 9a). ...
... O resultado dessas influências, reforçadas por seus mestres na faculdade, e pela arquitetura que era produzida na época, principalmente em São Paulo, em plena ascensão da chamada "escola paulista", pareceram contribuir para a construção de uma lógica tectônica pelo arquiteto. É importante, ainda, frisar que o período do pós-guerra e de suas manifestações arquitetônicas -principalmente a chamada arquitetura brutalista -é apontada por Frampton (1995) Para Esteves, a concepção de seus projetos deveria seguir etapas claras, que se iniciavam com reflexões sobre qual técnica construtiva deveria ser empregada ao projeto, e que iria influenciar fortemente na composição final do edifício. Essa postura estrutural como elemento matriz, juntamente com aspectos como: a exposição de partes e arremates; a busca por uma honestidade construtiva; a utilização dos materiais brutos; e a evidência do processo construtivo no produto acabado, reforçam, ainda mais, um modus operandi profundamente tectônico, e que se alinha com a trabalho de diversos teóricos que orbitam a teoria, a exemplo de Vittorio Gregotti (1996), Marco Frascari (1996), Kenneth Frampton (1995) Graças a essa composição a biblioteca possui um forte contraste entre suavidade e solidez: por fora, o volume apesar de puro é maciço, a depender do local ao qual é contemplado (Figura 5-6); por dentro, apesar de o espaço ser amplo e fluido, é dominado por grandes trechos e elementos em concreto aparente, a passa a denotar mais peso e rudez conforme se sobe para os níveis mais próximos à grande laje plana aparente. ...
... É importante, ainda, frisar que o período do pós-guerra e de suas manifestações arquitetônicas -principalmente a chamada arquitetura brutalista -é apontada por Frampton (1995) Para Esteves, a concepção de seus projetos deveria seguir etapas claras, que se iniciavam com reflexões sobre qual técnica construtiva deveria ser empregada ao projeto, e que iria influenciar fortemente na composição final do edifício. Essa postura estrutural como elemento matriz, juntamente com aspectos como: a exposição de partes e arremates; a busca por uma honestidade construtiva; a utilização dos materiais brutos; e a evidência do processo construtivo no produto acabado, reforçam, ainda mais, um modus operandi profundamente tectônico, e que se alinha com a trabalho de diversos teóricos que orbitam a teoria, a exemplo de Vittorio Gregotti (1996), Marco Frascari (1996), Kenneth Frampton (1995) Graças a essa composição a biblioteca possui um forte contraste entre suavidade e solidez: por fora, o volume apesar de puro é maciço, a depender do local ao qual é contemplado (Figura 5-6); por dentro, apesar de o espaço ser amplo e fluido, é dominado por grandes trechos e elementos em concreto aparente, a passa a denotar mais peso e rudez conforme se sobe para os níveis mais próximos à grande laje plana aparente. (CURTIS, 1996, p. 542-545). ...
... No que diz respeito a Concepção, é possível perceber na obra de Esteves uma franca aproximação com uma identidade moderna calcada em uma lógica regional, brasileira. Nesse aspecto é possível realçar uma construção próxima a visão de cultura tectônica como defendida por Frampton (1995) ou mesmo da trajetória tectônica explorada por Legault (1992). O fato de seu trabalho ser calcado em uma arquitetura fortemente ligada aos movimentos internacionais ao mesmo tempo que evidencia certa "tropicalidade" -possivelmente influenciada pelo pensamento do Gilberto Freyre (1933) e seu Luso Tropicalismo -, serve para fortalecer esse elo ou empatia à terra, atitude tipicamente explorada pela teoria da tectônica mas que claro, não é mote exclusivo dela. ...
... She concluded with five key traditional factors of tectonics from the research among tectonics-related literature found: detail/joint, material, object, structure, and construction. However, we can discover from Gao's study that the factors she drew from traditional theory of tectonics were general ones; which is relevant to the structural technique while, in fact, factors such as perception and topography (Frampton, 1995), which are not relevant to technique, but to the relationship between architecture and site environment, and between architecture and human being, are also implied in the traditional tectonics. In particular, topography is also an essential and influential factor to the construction of the architecture. ...
... As noted previously, Semper (1951) defined the joint as the most basic tectonics factor while the building formed; Frascari (1984) addressed that the joint is the generator of construction; and Frampton (1995) also defined the joint as the smallest unit element of the building. So this research regards the joint as the first tectonic factor. ...
... So this research regards construction as the sixth tectonic factor, its definition is the whole assembly process and the composition framework of the different tectonic factors mentioned above. 7. Interaction Frampton (1995) emphasized the "Poetics of Construction" while discussing tectonic. He stressed the important role of Topography and Perception (Corpereal Metaphor) in the building construction. ...
... Tectonics derived from the Greek term tekton, which translates to carpenter or builder [3]. In its development, the etymological meaning of tekton as a carpenter had to be altered contextually because its understanding became problematic, especially when compared with the term arche-tekton. ...
... Generally, tectonics is understood as the art of construction, with the understanding that construction itself is the subject that conduces art. Boetticher [3] has clearly stated that the discourse of tectonics would constantly develop along with mankind's understanding of the laws of nature, and the development of tectonics can only be done in the context of structure and construction, nothing else. ...
... Boetticher [5] believed that a place served as the essential element in tectonics, while Frampton [3] believed that culture was the core element in tectonics, and Semper [10] believed that material was the core element in tectonics. Frascari [9] believed that detail was the core element in tectonics. ...
... A mesma palavra é a origem da palavra "arquiteto" (arkhitektôn), referente ao "mestre construtor". Isto torna clara a sua proximidade com o campo da Arquitetura (FRAMPTON, 1995). Após sua criação pelos gregos antigos, a "tectônica" cai em desuso e é esquecida até o século XIX. ...
... A origem do termo seria o grego antigo "tikto", cujo significado é "produzir", sugerindo a inexistência de uma distinção para os gregos antigos entre os conceitos de "arte" e de "artesanato" (na obra original "craft", podendo ser traduzida também como "artesania" ou "artifício"). Desta forma, isto implicaria num estado no qual o "conhecer" e o "fazer" são integrados e a dimensão de um é revelado pelo desenvolvimento do outro (FRAMPTON, 1995). Em outras palavras, a condição da existência de um objeto produzido corresponde ao conhecimento e às condições disponíveis no meio para a sua produção. ...
... Neste buscou, através da formulação do "regionalismo crítico", uma reconciliação da Arquitetura com os aspectos locais e artesanais de produção, baseada no contexto no qual se insere. Para tal, propõe uma abordagem "tátil", em detrimento da visualidade e de recursos cenográficos, de forma que a tectônica reflita a manifestação cultural de uma região, contrapondo a pura mercantilização da Arquitetura (Figura 5) (FRAMPTON, 1983;1995). ...
O termo "tectônica" é, usualmente, empregado para referir-se a uma perspectiva de integração entre forma, material, estrutura e construção associada à arquitetura vernacular. O advento da "Era Digital" motivou um novo debate a respeito da tectônica, a partir da integração das tecnologias digitais com a Arquitetura, mais especificamente entre design e a fabricação digitais, originando uma teoria da "Tectônica Digital". Nesse contexto, o presente artigo realiza uma revisão da literatura sobre a teoria da tectônica, tanto em sua corrente tradicional quanto na digital. São apresentadas, para isto, as definições e os conceitos-chave postulados pelos principais teóricos no assunto, seguidas de uma análise comparativa, entre teóricos de mesma corrente e das teorias entre si, destacando suas contribuições e consequências. Como resultado, pretende-se tornar clara a delimitação entre ambas teorias, tradicional e digital, contribuindo para tornar o conhecimento a respeito da teoria da tectônica acessível a todos os campos de estudo.
... Porém, um dos autores que mais contribuiu para a discussão do conceito no século XIX foi Semper, que se baseou da interpretação da construção de uma cabana caribenha na exposição Universal de Londres, em 1851. A partir de quatro técnicas tradicionais -o têxtil, a cerâmica, a tectônica (carpintaria), e a estereotomia (corte das pedras) -Semper classificou os procedimentos empregados em tectônicos e estereotômicos 3 (FRAMPTON, 1995;HARTOONIAN, 2016). ...
... Esta foi uma época de intensas mudanças nas relações da produção construtiva e, em suas diferentes nuances, os três autores enxergavam a tectônica enquanto "[...] uma teoria capaz de guiar a maneira como uma edificação seria erigida por meio do entendimento de seu processo de construção e da herança de construção de um lugar" (CANTALICE II, 2018, p. 249). Semper, em especial, procurou uma relação estreita com a nascente ciência da etnografia, que estava sendo estruturada naquela época (FRAMPTON, 1995) A discussão sobre a tectônica foi colocada de lado na primeira metade do século XX, sendo retomado na década de 1960, por Eduard Sekler e Peter Collins, passando, a partir de então, a ser debatido por críticos e historiadores tais como Kenneth Frampton, Edward Ford, Ulrich Pfammatter, Gevork Hartoonian, Andrea Deplazes, Regean Legault, David Leatherbarrow, entre outros (CANTALICE II, 2018). Foi, portanto, Sekler (1965) que resgatou o termo tectônica (FRAMPTON, 1995), com o objetivo de tecer críticas à arquitetura tardo-moderna e a sua produção, composta por edificações com um excesso de articulação formal. ...
... Semper, em especial, procurou uma relação estreita com a nascente ciência da etnografia, que estava sendo estruturada naquela época (FRAMPTON, 1995) A discussão sobre a tectônica foi colocada de lado na primeira metade do século XX, sendo retomado na década de 1960, por Eduard Sekler e Peter Collins, passando, a partir de então, a ser debatido por críticos e historiadores tais como Kenneth Frampton, Edward Ford, Ulrich Pfammatter, Gevork Hartoonian, Andrea Deplazes, Regean Legault, David Leatherbarrow, entre outros (CANTALICE II, 2018). Foi, portanto, Sekler (1965) que resgatou o termo tectônica (FRAMPTON, 1995), com o objetivo de tecer críticas à arquitetura tardo-moderna e a sua produção, composta por edificações com um excesso de articulação formal. ...
Este artigo parte de uma análise da arquitetura dos novos museus globais, escolhidos como objeto de pesquisa devido a seu conteúdo simbólico subjacente. Adotando uma abordagem qualitativa, a investigação procura confrontar o conceito de “tectônica” a questionamentos relativos à utilização de elementos cenográficos na arquitetura museal contemporânea, incorporando ainda considerações sobre o uso destas edificações. A ideia de tectônica parte da relação que a dimensão material, construtiva e tátil da arquitetura estabelece com sua expressão plástica, uma questão que foi colocada em pauta em meados do século XIX e recentemente reemergiu por meio de reflexões tais como as de Kenneth Frampton e Gevork Hartoonian. Sob a luz de conceitos propostos por estes autores, da crítica à arquitetura tardo moderna, a partir de Venturi, Brown e Izenour e de considerações sobre a condição cenográfica da arquitetura – propõe-se uma investigação sobre o Museu do Amanhã, Rio de Janeiro. O objetivo é questionar se a mera expressão tectônica do edifício é capaz de isentá-lo de qualquer intenção de espetáculo e cenografia. Embora nitidamente inserido dentro de uma dinâmica de competição de cidades, a partir da criação de uma imagem de marca, o Museu destaca uma solução construtiva e estrutural em que as relações de carga e apoio se expressam em coerência com a forma. Reafirma-se desta forma as possibilidades de articulação entre expressão tectônica e cenografia, materialidade e imagem.
... Tectonics in Architecture 1.3.1.3 "Tectonics" developed by architectural thinkers such as (Semper et al., 1989, Frampton et al., 1995. Tectonics in architecture is defined as "the science or art of construction, both about use and artistic design. ...
... Tectonics involves the potentials and qualities both found in the genesis of the construction solution and the materialisation of the final building structure (Semper et al., 1989) (Frampton et al., 1995, Beim et al., 2014, Pedersen, 2012. ...
... This aids to identify and refine technology transfer in contemporary industrialised building construction (Beim et al., 2014). According to Frampton(Frampton et al., 1995), the tectonic is the aspect best suited to current tendencies to legitimise architecture in discourses outside the discipline, i.e. prefabrication and the industrialised building. ...
In light of the recent resurgence of modern bespoke prefabrication techniques seen in the developed world, this dissertation reconsiders the use of prefabrication in sustainable architectural design, towards improving the implementation and quality of public primary school learning environments. The research intended to find out how the process of prefabrication could allow for the implementation of sustainable architecture which improves the quality of learning environments? A significant amount of research has been conducted in the developed world validating the potentials of prefabrication as a means to deliver sustainable architecture at high quality, with reduced cost and time frames. However, despite some exemplary local school projects, this topic has seen limited research primarily from within the architectural discourse.
The research took to addressing two fundamental problems; The quality of learning environments for primary school children, the researcher conducted interviews with local primary school principals, accompanied by a review of literature from the fields of environmental and developmental psychology addressing issues relating to ‘environmental quality’ and the ‘learning process’. Addressing the problem of implementation of school architecture required a literary study of the school typology, the industrialised or prefabricated building, technology transfer and sustainability. A case study of existing school prefabs, two precedent studies and a materials & systems study were also conducted. To position, the study within the architectural discourse the ‘Four Basics Four Perspectives(FBFP) an ‘Integral model’, was used as a means to synthesise the interdisciplinary research and data.
The research has found that if prefabrication is used in the implementation of ‘sustainable primary school architecture’, these buildings must be designed to respond to their site ‘specificity’, by being respectful of their natural landscapes, and cultural context. Moreover, they must provide rich natural outdoor environments and learning opportunities that allow children to affiliate with nature. These schools must be 'community-orientated’ and designed within a collaborative environment. Architectural design can improve the learning climate by improving ‘environmental quality’ and creating ‘responsive environments’ which foster ‘individuality’. The school building and spaces must be ‘adaptable’ by allowing for diverse function, longevity and future expansion. Innovation within the product design process and utilising appropriate sustainable prefabrication technology has been proven to vastly improve the quality and scope of these school projects while reducing the risks of ‘cost’ and ‘timeframes’. These technologies can also provide opportunities for employment and capacity building, within safe and dignified working conditions. The building process has also improved the efficiency of natural materials and has provided buildings that can be disassembled, recycled or reused. The research concludes that architecture has the potential to be a ‘force for change’ within its ‘socio-technical’ capacity.
... That is the case with buildings made from repetitive structural units. For example, the expressive potential of these spatial modules plays a significant role in buildings such as the Centraal Beheer by Herman Herzberger, the Kimbell Art Museum by Louis Kahn or the Municipal Orphanage by Aldo van Eyck in Amsterdam (Frampton 1995). The additive principle of successive constructive cells, whether or not they are framed or divided into compartments by walls, results in an artistic manifestation of the even distribution of loads. ...
... Both concepts of relations can be sources of artistic representation, particularly in the skeleton frames where the enclosing and partition walls play such a determinative role in the overall architectural form. In the apartment block on the Rue Franklin, Auguste Perret expresses artistically the traditional infill walls, which conveys the concept of repetition, while the German Pavilion in Barcelona may be one of the most demonstrative examples of the concept of contrast : "… in the opposition between the marble-faced pinwheeling planes and the symmetrical placement of the eight columns in relation to roof" (Frampton 1995). The microtectonic dimensions of load distribution in the system of elements and subcomponents can be found in the coincidence between an element and its envelope (cladding, rendering, stains). ...
... The moment of inertia of an element's section also determines its stiffness and, when appropriate, leads to natural lightness. This is one of the reasons behind Louis Kahn's advocacy of construction with tubular steel (Frampton 1995). Folded plates also owe their stiffness to the form of their cross section. ...
ABSTRACT: Tectonics in architecture or „poetics of construction“as Frampton defined it, has a multifarious nature and many manifestations. This paper explores a new approach to the concept of tectonics, which systemises the various tectonic expressions. The proposed approach reveals tectonics as an artistic expression of mechanical and spatial functions of building’s material elements. Construction technologies appear as a means for expressing these functions. This paper clarifies all mechanical and spatial functions and gives examples of their tectonic expressions. The review concludes that this functional approach to tectonics has a wide scope, encompassing most of tectonic manifestations and gives a basis for their systematisation.
... This term is also found in Vedic poetry, symbolizing carpentry. In Homer's literary works, the term is interpreted to represent the art of construction in a broad sense [5]. ...
... This notion is underscored by the Greek origin of the term, "tekton", signifying a carpenter or builder. Over time, this term underwent an evolution, progressing from its initial association with physical carpentry to encompass a broader concept of construction, eventually intertwining with the realm of poetry [5]. ...
... Every new material provides architecture with new opportunities for different architectural expressions. This is the reason why the period of industrialization with the emergence of steel and concrete was so fruitful for many new tectonic manifestations (Frampton, 1995). Usually in Modernity one of the main problems before the architects was how to find and express the tectonic potential of new materials and new methods of construction. ...
... If we try to shed light on that question it seems logical to search the answer somewhere in the concept of tectonics, because it is the tectonics in architecture that deals with the artistic expression arising from construction materials and technologies. Although there are many works devoted to "the poetics of construction" (Boetticher, 1852;Frampton, 1995;Semper, 2004) all they provide different approaches to the main concept of tectonics. Previous research by the author of this paper address with the problem of the versatile and numerous tectonic expressions and identifies tectonics as "an artistic expression of mechanical and spatial functions" of buildings' material components (Yordanova, 2019). ...
... Sekler en su ensayo titulado "Structure, construction and Tectonics", donde se tratan tres conceptos siempre presentes en la arquitectura: la estructura, la construcción y la tectónica, de los cuales se marca la diferencia entre ellos, diciendo que la primera es la parte fundamental de ordenamiento de los edificios, la segunda hace referencia a una manifestación física particular, es decir, a la materialización perteneciente al edificio; y la tercera la define como la expresión de las otras dos, como aquél elemento intangible generado a través de lo tangible, coincidiendo con Frampton, que define a la tectónica como [1] "…la estrategia crítica más amplia debido a la reciente tendencia de mercantilizar la forma de la arquitectura". ...
El presente ensayo será un viaje a través de la historia de la tectónica, reflexionando sobre algunas de las más interesantes expresiones de ésta a nivel mundial, para así comprender el estudio y análisis de la tectónica nacional. Identificaremos los valores que podrían aportar a la arquitectura mexicana actual, debido a que son inherentes a nuestra identidad como nación; en otras palabras, reflexionaremos acerca de la importancia del conocimiento y concientización de la tectónica de nuestra cultura en la vida cotidiana, incluyendo los cuestionamientos que nos pueden surgir al pensar porqué se siguen modelos arquitectónicos impuestos por otras culturas y la importancia de conocer nuestro pasado tectónico para así tener valores arquitectónicos propios y la determinación de poderlos aplicar y arraigar.
... Twentieth-century luminaries, including Le Corbusier, highlighted the disparities between architectural conservatism and progress in other industries. The unique challenges of architecture, emphasizing individuality in design, often seemed in conflict with technological progress [7]. Yet, with the advent of the digital age in the 1990s, visionary architects began harnessing digital tools, recognizing their potential to redefine traditional architectural paradigms [8,9]. ...
The introduction of computer-aided design (CAD) programs marked a significant shift in architectural practice, with professionals transitioning from hand drawing to digital tools. This evolution sparked debates on the implications of technology for the quality and authenticity of design. Today, artificial intelligence (AI) presents a similar challenge, raising questions about its advantages and disadvantages in architectural education. This paper aims to investigate the impact of AI on architectural pedagogy, exploring both its potential benefits and the concerns it raises. The research will propose strategies for integrating AI tools into architectural curricula, emphasizing their role as an aid to human creativity and problem-solving rather than a replacement. The study will argue that adapting to AI technologies is crucial for preparing students for the future of architectural practice and ensuring they are equipped to utilize the full potential of these tools while maintaining ethical and responsible design approaches, to use the tools by being pro-active rather than passive.
... Sin embargo, a medida que la ciencia y la tecnología avanzaron, la relación de la arquitectura con las percepciones metafísicas cambió 9 . El llamado Movimiento Moderno marcó un cambio hacia el diseño funcional, enfatizando la utilidad y la estructura sobre los adornos ornamentales 10,11 . Este movimiento enfatizó el desempeño de los edificios, haciéndose eco de los sentimientos de arquitectos influyentes como Louis H. Sullivan y Ludwig Mies van der Rohe 12 . ...
En un mundo cada vez más acelerado y urbanizado, los espacios que habitamos tienen un profundo impacto en nuestro bienestar y productividad.
... Instead Mies van der Rohe preferred the ambiguity of fusing the skin and the structure causing the skin and structure to be merged by means of the unifying exterior mullions. [1] We can see this clearly by comparing the plan of a corner column at 886-880 Lakeshore in figure 1b and 1c with the plan of a column of the Seagram Building of 1958 in figure 1a, an example where the skin is hung outside the structure. ...
... The name was later used to distinguish his invention from the béton armé by Hennebique. In less than a decade, Hennebique's system began to be widely adopted for construction, but the intensive labor system of reinforced masonry by Cottancin was seldom used in modern construction sites after 1914 in Europe (Frampton, 1995). The reinforced masonry system was rarely adopted in Europe and North America; however, due to its low-cost and laborintensive advantages, it was widely used at the urban and rural construction sites in Latin America, North Africa and Asia from the first half of the twentieth century. ...
The Yaodong cave dwellings in China, a vernacular heritage of traditional architecture, are vivid examples of the local wisdom adapted to specific geographical and climatic conditions. Focusing on the renovation project of Yaodong cave dwellings in Tongchuan area of Shaanxi province, more specifically, the Snail Valley Country Hotel Complex, this paper examines how a reinforced masonry and brick shell approach was selected as an appropriate strategy in the construction of architectural addition and renovation of the old earthen cave dwellings. It discusses the collaboration and interaction that took place between architects, local craftsmen, and other stakeholders during the construction. It also explores how modern technology can play a role in the revitalization of traditional vernacular architecture and how critical discussion can shed light onto the contemporary development of vernacular architecture. An approach such as this may be useful in framing similar practices in the relevant field in the near future.
... In this case, tectonics is a construction science that continues to develop along with technological developments, but does not change the initial conditions of tectonics to reveal the truth of a building and its surrounding environment (Hoda Al-Alwan and Yusur B Mahmood, 2020). The development of tectonic studies is always related to the environment (Frampton, 1983), this is supported by Hensel and Cordua (2015)and Harahap (2021) about the emergence of tectonics from discussions on locality. Previous research from Surya et al (2016)supports the development of tectonic aspects in local architecture as a creation of spatial arrangement processing, structural details and building construction, as well as the selection of materials that must be in accordance with their properties and characteristics. ...
The development of residential architecture now depends on market tastes, with the trend of minimalist houses being identical in style and without a theme, as if they have lost their identity. In this case, there were many discussions that featured Eko Prawoto as an architect with the theme of local architecture, but the subject of this research questioned him. Therefore, this study discusses how the identity and concept of the natural locality of Eko Prawoto's residential works are expressed through architectural tectonics. The architectural biographical approach is used in qualitative inductive research through an emic view. The focus of this research topic is on the process of expressing the image of residential buildings through architectural tectonics. The results obtained are in the form of processing materials, techniques, and flavors in the process of building a house. This discussion is important to straighten the concept of local architecture and the meaning of architectural works through a biographical approach. This research is expected to be the basis for the use of tectonics as a basis for meaningful architectural development.
... In the face of an increasingly digital architecture that is digitally conceived, simulated, and represented, a counter movement, which stresses the importance of tectonics in architecture, began to gain momentum. A manifesto of this movement can be found in Kenneth Frampton's book Studies in Tectonic Culture (Frampton 1996). However, once architects who have been trained in the use of digital tools graduated and started building, a shift occurred in which architectural tectonics evolved into what has been termed digital tectonics. ...
... Istilah tektonika berasal dari kata Yunani tekton, yang berarti tukang atau tukang kayu. Istilah tersebut mengarah pada kata architeckton atau master builder, dan definisi tekton akhirnya diperluas mencakup kualitas estetika (Frampton, 1996). Robert Maulden menulis bahwa tektonika berkaitan dengan kesadaran diri yang tampak dari sebuah bangunan sehubungan dengan konstruksinya (Maulden, 1986). ...
Artikel ini mengeksplorasi proses kegiatan tambal di Manado sebagai basis pembelajaran tektonik bagi mahasiswa arsitektur. Tambal adalah istilah setempat untuk kegiatan memperbaiki rumah ataupun benda lain yang bersifat tidak menyeluruh dan hanya mengganti bagian yang rusak. Pembelajaran tektonik bertujuan untuk memberikan pemahaman akan ekspresi seni dari sambungan ataupun pertemuan yang terjadi pada susunan struktur dan konstruksi. Pemahaman tektonik dari suatu desain kerap hanya dipahami dari keseluruhan susunan tersebut. Melalui kegiatan tambal, artikel ini berupaya menginvestigasi bagaimana mahasiswa arsitektur dapat memahami aspek tektonik melalui bagian-bagian pertemuan yang kemudian mempengaruhi keseluruhan tektonik yang hadir. Fokus kegiatan tambal dalam penelitian ini ditujukan untuk memperbaiki kondisi salah satu rumah sementara di kawasan Tempat Pembuangan Akhir (TPA) Sumompo Manado agar layak huni secara struktur. Dengan konteks tersebut, mahasiswa dihadapkan pada kompleksitas tektonik diambang batas minimal konstruksi, dan harus menemukan solusi arsitektural dengan tenggat waktu terbatas. Dari hasil pembelajaran tektonik melalui kegiatan tambal, mahasiswa menghasilkan pengembangan ekspresi desain tektonik yang berdasarkan kebutuhan untuk memperkuat bangunan tersebut. Kegiatan ini berkontribusi memperdalam pembelajaran tektonik dalam arsitektur berdasarkan aspek lokalitas untuk menghasilkan struktur yang lebih baik. This article explores the process of tambal in Manado as the basis of tectonic learning for architecture students. Tambal is a local term for house or objects repairing activities that only takes place in parts that are broken. Tectonic learning aims to provide students about understanding of the arts of joints that exists in a structural and construction assembly. Understanding of tectonic often only pay attention to the overall assembly of its parts. Through tambal activity, this article investigates how architecture students may understand tectonic aspects within the parts of the joints that later influence the overall configuration of assembly. In this research, the process of tambal was aimed to repair the condition of one of the temporary houses in the Sumompo landfill area in Manado to be structurally habitable. In such context, the students were faced with existing tectonic complexity below construction standards, and they were required to create an architectural solution within the limited time frame. By learning tectonic through tambal, the students were able to develop a tectonic design expression based on the need to strengthen the building itself. This activity contributes in deepening the process of tectonic learning in architecture based on local aspect to create a better quality of structural configuration.
... In architecture, recognition of the expressive qualities of construction, known as "tectonics" [10], has been noted to guide the building design, as well as the integration of construction features in the design process, as established in the concept of "constructivity" [11]. This has increased with the current implementation of BIM for the integration of specialties and project information, thereby relating design with construction and maintenance. ...
3D-printed constructions express the capacity of automated technologies to elaborate buildings through additive manufacturing. These constructions require an architectural design according to their manufacturing conditions. This research reviews buildings that have been executed with these technologies in order to determine architectural characteristics. From an Internet search, a register was compiled of 112 cases of 3D-printed constructions around the globe. They include some 10,000 m2 of built surface area and were mainly erected in the last five years. The review shows that cases were built by approximately thirty executors, mostly entrepreneurs’ companies who have made different buildings as single-family dwellings constructed with gantries or robotic arms, either on-site or in factories. Most of the components printed are walls, with single or double filaments with interior voids. In some cases, they integrate reinforcements and openings. The geometry of the 3D-printed constructions varies between orthogonal layouts that replicate existing buildings and spherical shapes that reflect printing capabilities. Many of the cases are a combination of these characteristics, mixing a technological adaptation to existing architecture and new operative conditions. This review reveals the emerging development of this construction system with the progressive consolidation of some architectural attributes.
... Semper proposed that the primordial dwelling was divided into four basic elements: the earthwork, the hearth, the framework/roof and the enclosing membrane. [15] Kenneth Frampton, refines this idea and suggests that, according to Semper, the buildings crafts can be understood as being essentially two fundamental procedures, namely 'the tectonics of the frame combined with the sterotomics of the earthwork'. [16]. ...
... Although "tectonic" traditions are certainly social, as in architecture, the emphasis of techne is on experiential, or empirical knowing, not mental abstraction. (Frampton, 1995;de Vries, 2003;Feenberg, 2003;Diver, 2017;Makondo et al., 2018). Understanding the rising waters in a unique place is not an abstraction, it is "contextbound knowledge" learned over time (Moore and Karvonen, 2008). ...
This article is a theoretical, hypothesis-building exercise to be subsequently tested at the Solutions-Driven Community Center (SDCC) in Austin, TX. We argue, as pragmatists generally do, that the most useful knowledge is produced in action, rather than by reasoning. If this premise is granted, it follows that the Modern division of labor is also the division of knowledge--in limiting what we do in the world, we also limit what we know of the world. The resulting problem is that the compartmentalization of knowledge has catalyzed a host of unwanted ecological, sociological and technological (or ecosociotechnical) consequences. One such consequences, climate change, has become most visible in the study of interdependent, critical infrastructures (or ICIs).
Modern infrastructure, we find, reflects the classical organization proposed by Critical Theorists--infra-structure (technologies and the social organizations which operate them) characterizes and implements the relationship between super-structure (broad structures of political economy), and social-structure (patterns of everyday life). We argue that it is the nature of these relationships that influence the quality of life; be it controlling and competitive or collaborative and creative.
In response, the research team appropriates and hybridizes six academic territories as a generalizable theory, or method, to simultaneously study and renovate ICIs in the U.S. Critical pragmatism is a method to align frames of interpretation through collective action in Austin.
... O terceiro, uma cabana primitiva, é um desdobramento das idéias de Semper (1851), retomadas por Frampton (1995). Frampton agrupou os quatro elementos semperianos em duas categorias: earthwork (ou terraplenagem), que engloba os elementos do podium e do lar, base do edifício, componentes horizontais; framework (ou estruturação), que compreende o telhado e as vedações, componentes verticais. ...
The abstract and universal ideals that permeated the architecture in the early decades of the twentieth century provoked, in the second half of the century, the emergence of theoretical formulations and practices that have criticised these same values and sought to restore an empirical relationship between architecture and place. In several ways, nowadays these discussions seem to be limited to a specific time and were partly overshadowed by the emergence of deconstructivism and digital technologies in contemporary architecture, in addition to the starchitects designing signature buildings all over the globe. However, it is believed that this does not invalidate the previous reflections, and that makes no more sense to criticise the architecture to be universal, as the current complexity of urban spaces, digital tools, prefabrication and rapid dissemination of information is already incorporated the design process.
In this sense, interested in this process and the interfaces between the disciplines of architecture, urbanism and landscape, this dissertation seeks to elucidate recent designing strategies take into account the characteristics of the site to provide alternatives to the idea of building as an isolated object. For this, it will be discussed some projects of the Portuguese architect Alvaro Siza, identified in line with this scenario.
The work begins with a review of the main discussions about architecture and situation in the twentieth century, grouped into four themes (place, landscape, context and region), highlighting their limitations, potentials and influences on Siza’s work. Later, introduces recent discussions that continue the theme in contemporary architecture, particularly some reflections of the architecture critical David Leatherbarrow on the theme of topography as an instance of relationship between design and site, synthesised through five themes: (1) the site approach and projetual framework (2) construction as cultivation; (3) earthwork as framework; (4) site and materiality; (5) fragmentation versus frontality.
Finally, through three main themes extracted from the literature (the project as an elaboration, insertion or collaboration with site), classifies nine projects from Álvaro Siza and analyses them based on five topics listed above, to provide current thoughts about the relationship of site and buildings in theory and practice of the discipline of architecture.
Keywords: Álvaro Siza, design strategies, site, theory, topography.
... Em resumo, pode-se afirmar que o edifício da Apple Champs-Élysées, à mesma maneira que o exemplo anterior, traduz a reflexão tectônica alicerçada nas esferas da concepção, da materialidade e da técnica (Figura 16), uma vez que seus projetos espelham a busca pela manutenção da herança cultural ao mesmo tempo que inovam em proposições espaciais adequadas à contemporaneidade e permitem que sua arquitetura flua no contexto de respeito ao passado e readequação do presente. Pode-se dizer ainda, que o edifício, ao resgatar o conceito de herança cultural trazido por Sekler (1965), ou apresentar as técnicas utilizadas na especificação dos materiais ancoradas no domínio criativo trazido por Collins (1960), não só atualizam a conceituação da tectônica na contemporaneidade com a relação entre construção formal da arquitetura e concepção técnico-construtiva trazidos por Frampton (1995) em seus estudos, mas corroboram para a relação entre estrutura e herança cultural defendida por este último, pois evidenciam os aspectos da função e da relação com o todo, interligando a arquitetura à construção. Não diferente e obstante ao século passado, a tectônica segue seu curso e atualização no século XXI, alicerçada nos estudos e reflexões de diversos autores. ...
Pensar a cidade contemporânea como um organismo vivo e dinâmico, que necessita de respostas às demandas atuais se faz necessário e urgente. Os arquitetos, engenheiros e planejadores discutem, cada vez mais, as dinâmicas sociais, ambientais e econômicas em um contexto integrado. O presente trabalho apresenta a teoria tectônica, alicerçada em um tripé analítico composto pela: concepção, materialidade e técnica, a fim de ser aplicada como metodologia operativa para leitura e identificação do processo de projeto voltado à reabilitação de edifícios no contexto urbano. Inicialmente, buscar-se-á identificar como os parâmetros da vertente tectônica na arquitetura, alicerçada no tripé mencionado, podem servir de base interpretativa para intervenções em edifícios urbanos, com olhar voltado também para as questões tecnológicas sustentáveis que permeiam o discurso na contemporaneidade. Posteriormente, a metodologia será aplicada em estudos de casos de edifícios reabilitados e requalificados na obra do arquiteto Norman Foster. O objetivo é averiguar se os exemplos respondem às questões urbanas contemporâneas voltadas à defesa do patrimônio, preservação, reabilitação, e atendimento às preocupações das gerações futuras. Busca-se como resultado, a identificação da tectônica como ferramenta do projeto multidisciplinar, com foco na reabilitação do patrimônio, em um campo emergente que alie e respeite passado, presente e futuro.
... In several artistic disciplines today, tectonics evolves differently. In contemporary architectural discussion, tectonics often expands to architecture as a technical craft (Frampton, 2001). In a more particular description, tectonics represents the unity of opposite pairs: representation and structure, art and technique (Kollhoff, 2001). ...
... His architecture gradually focused in materiality and a stone vocabulary, making use of tones in local stone (Archerfield, Wardhouse), marking an essential origin and grounding of these buildings to nature, albeit modified by the intellect of a designer. Constructional form and material character [15] were not yet integral to the architectural expression of his work and the closest in continuity between form and construction can be found at the openings surrounds. ...
Scottish architect John Douglas (c. 1709-1778) designs explored the plastic treatment of the volume and the materiality of elevation in rather eclectic manners beyond his period, often though deemed too fashionable or personal. He is an interesting less-known case of the early 18 th century context in Scotland characterised by the professional establishment of architectural practice and a more conscious exploration of personal styles and external influences, often treatises. Better recognition of his architectural ideas can open interesting questions in Scottish historiography and this is attempted in the analysis of his major buildings: country seats like Archerfield (1745-9), Finlaystone House (1746-7), Wardhouse (1757); student halls in St. Salvator's (1754-58); the disastrous intervention in Holyrood Abbey church (1760); and the town halls for Lochmaben (1756) and Campbeltown (1760). A characteristic treatment of the materiality of elevations emerges and a mannerism that is restrained and more influenced by the earlier Palladianism of Inigo Jones than James Gibbs. His professional practice is illustrated from the study of building contracts and the litigation with his journeyman George Paterson, which can then inform our broader knowledge of contemporary designer-contractor practices and sites organisation, as also confirm disputed authorship of his work.
Degree Show Catalogue documenting an ESALA MArch (Modular Pathway) studio ‘Conversations Through Making [PLZEŇ]’. Studio Leaders: Kevin Adams and Louisa Butler. 2021-2022.
Architected porosity in masonry structures can be created by transforming stock materials into a lattice of interlocking units through an automated batch process. Porous masonry forms numerous enclosed cavities for thermal performance and reduces material usage while maintaining structural integrity. This work investigates the potential and limits of digital tectonics of porous masonry through a complete process of design, manufacturing, and construction. The confluence of digital fabrication with tectonic exploration opens new dimensions unattainable by traditional stereotomy. Interlocking materials inspired by Abeille vault and digital stereotomy have made rapid progress. Following the theory of poetic construction, this work proposes that masonry construction should evoke visual or haptic enhancement through the fulfillment of pragmatic functions. We formulated a design challenge for a confined dry masonry wall for the envelope of the 2226 building. It assumes batch-cutting bespoke units out of large blocks of high-strength foam. Through a process of cutting and reassembling, the stock material is topologically expanded into a porous structure. A series of prototypes were developed to explore novel articulation, structural and thermal performance, and economical manufacturing. One can perceive the logic of porous construction through visual and haptic empathy. The materialization process interacts with the design masonry units and the interlocking mechanism. For future practice in masonry, the porosity should be planned at multiple scales (molecular scale, aggerate scale, construction scale) across the life cycle of the material.
Over the summer of 2019/2020, Australia’s east coast was indelibly marked by bushfires of an unprecedented intensity. Autumn 2022 saw it inundated by a series of extreme flood events. How might the design of public architecture respond to these impacts of climate change? Bundanon Art Museum and Bridge shifts design thinking about climate adaptation from problem to opportunity. It incorporates solutions defendable against fire and flood with a net zero energy target. A center for arts and education in bushland of this same east coast, Bundanon occupies the land of Yuin peoples. Shaped by water flows, fire and indigenous land management practices for millennia, the design for buildings, landscapes, and infrastructure is resilient to support these natural flows within a regional context. A clear and transdisciplinary design intent aligns function and user comfort with the site’s climatic, ecological, and topographic conditions directing siting, built form and reduced reliance on mechanical systems for a thermally stable, fire-resistant subterranean Art Museum and an open air, flood resilient Bridge for Creative Learning supporting overland flow and floodwaters below it. Climate variation, central to visitor experience, is harnessed for delight and connection with place. Low tech systems invite users to tune their environment. Education and landcare programs enable individuals and communities to adapt through action for site responsive and sustainable outcomes with ecology at its heart. A visual essay will demonstrate how design-based research and a multi-disciplinary design process led to completed buildings and landscapes that offer a model for climate adaptation and user delight.
With increased interest in materials and construction in the architectural field, the use of building structure as the element of architectural expression has gained interest in recent years. In his analysis of contemporary Swiss architecture, Arthur Rüegg has coined the notion of ‘Strong Structures’ for the tendency to activate a load-bearing structure for spatial and conceptual expression. The article applies this notion to the works of renowned Japanese architect Kazuo Shinohara, who has influenced many prominent Swiss figures in the debate over ‘Strong Structures.’ By conducting phenomenological research on his experimental practices in House in White, Tanikawa House, and House in Uehara, the article examines how Shinohara used the organisation of structural elements and relations to express the architectural and cultural context. Finally, by contrasting the structural design methods used in Switzerland and Japan, this article aims to introduce a relational structure design mindset in order to complement and extend the concept of ‘Strong Structures’, which can enrich structural design by focusing on the art of structural relations.
Aldo van Eyck is attributed with designing more than 700 playgrounds which engendered revolutionary spatial concepts such as the ‘twin phenomena’ and ‘in-between.’ These concepts are examined in the literature through the definition of place alongside its ethnographic origins; however, a limited number of studies address place-making through quantitative measures. This research project investigates the correlation between van Eyck’s playgrounds and his place-making depending on the spatial configuration. It analyses the planning of 70 playgrounds based on space syntax techniques and clusters them into six groups. It discusses the playgrounds’ spatial properties through their corresponding genotypes and phenotypes. The results show that the playgrounds represent a spectrum of place-making concepts ranging from relativity to labyrinthian clarity with the twin phenomena and in-between as intermediate spatial concepts. The results augment quantitively the claims in the literature and identify each playground’s dominant place-making concept and its particular intricacies.
The subject of “tectonic affects” has not been studied in a holistic way and by giving equal priority to building technology / technique and aesthetics / meaning / poetics previously. However, affects play important roles in contemporary societies and architecture also gets affected from this situation. The aim of this book is to cover the types of affects which can occur through architectonics in a holistic way through a secular point of view and with an immanent approach to the material world. These are: Poetic tectonic affects, Tectonic affects of change/time, Tectonic affects of domination. The book aims to give equal priority to both building technology and aesthetics and discusses the types of tectonic affects which can be mechanical. Also, the presence of contradictory tectonic affects in some 21st century examples of architecture, such as 41 Cooper Square in New York, is demonstrated. Another characteristic of the book is about application of many philosophical concepts to architecture.
Describing an ecological correspondence between animal and environment, the notion affordances stemming from the field of perception psychology marks a critical direction for addressing the increasing overconsumption of the built environment. The present chapter explores this direction by introducing gesture as a key concept in mobilizing the theory of affordances within the integrated field of architecture and engineering. Using tectonic theory to link the spatial capacities of construction to human body language, and hereby to perception and behavior, it is argued that gesture opens a potential toward clarifying the field of action of the architect-engineer related to that of improving the affordances of the built environment. In asking what gestures (can we) afford, the chapter situates this potential as a critical method in navigating a resourceful and ethical correspondence between that which we intend our constructions to afford and for whom, and the technical realities of how our constructions afford and with what resources.KeywordsArchitectureEngineeringGestureTectonicsResourcefulness
The Tropical Modernism that spread in the sub‐Saharan Africa, consigning to history many ancient architectural artifacts and practices. The Democratic Republic of the Congo preserves some precious examples of tropical architecture that were realized before and after independence. The aim of this paper is to examine this heritage and the sustainability already embedded in the language of tropical architecture, and its application in the design process through analyzing quintessential instances of Paul Dequeker's work, in particular his sacred architecture. Six projects in DR Congo are presented: King Christ Church, St. Anthony I Church, St. Luke Church, St. Augustine Church, St. Anthony II Church and St. Raphaël Church. This research explores each case study through a qualitative method analyzing, first, historical documents relating to their conception as architectural projects, and second, as part of an African modern heritage that needs to be classified, studied, and protected. Moreover, the analysis focuses on the tropical details and features characterizing the architectural artifacts.
La década de los años sesenta en el Ecuador, y particularmente en la ciudad de Quito, fue un momento clave para la consolidación de la arquitectura moderna local. Este periodo estuvo caracterizado por la introducción de un lenguaje importado y la utilización de nuevos materiales. La nueva arquitectura implicó un cambio de paradigma para los arquitectos que se formaron durante esa época. Conllevó particularmente la aparición de una novedosa forma de definición gráfica de sus proyectos. En este artículo se pretende poner en evidencia cómo este cambio en la definición del documento de proyecto y la aparición de un nuevo lenguaje arquitectónico se encontraron estrechamente unidas. Oswaldo de la Torre dibujó en 1963 los planos para la Facultad de Ingeniería Mecánica de la Escuela Politécnica Nacional. Desarrolló entonces un sistema de proyecto para la elaboración de las soluciones tanto compositivas como constructivas, que sirvió de base para trasladar las ideas a una realidad construida.
Architect Jørn Utzon is known for his devotion to human well-being and his ability to integrate architectural and structural
ideas. Yet, discussions in scholarly circles often emphasise his tectonic genius related to sublime formgiving and structuralmaterial
experiments. Less attention is given to how his sense of empathy and concern for the well-being of users influenced
his design process. To address this absence, we explored how training students in a user empathic design process can be
integrated in an architectural and engineering design approach.
First, we outline a theoretical framework grounded in the 1) scholarship on tectonic thinking by Jonathan Hale and Marco
Frascari and 2) cognitive-neuroscientific understanding of how human beings interact with their surroundings in an embodied
and emotional manner. Architectural experience is thus co-produced in an on-going meeting between structures, spaces,
and human bodies. Secondly, we present a case study of an experiment with storyboarding as a technique to visualize the
intangible aspects of designing for well-being and emotional experience. Placing the ‘body’ and ‘experience’ at the center
of the design process calls for greater sensitivity to diversities within user groups. We argue for an adjusted tectonic design
toolbox focused around translating experiences, emotions, and behaviors as a means of joining user-oriented, architectural,
and engineering principles in the early design phases. This paper intends to spark a debate about ‘tectonics of well-being’
and to discuss whether storyboarding as a narrative design tool can help join structural-material genius with socio-cultural
realms of human experience in tectonic design.
This dissertation charts the relationship between British realism and landscape aesthetics in order to reframe the novel’s established connection to the rise of capitalism. The Lie of the Land argues that passages of landscape description mediate and disguise the history of British land use. Land enclosure, the seizure and forcible privatization of common land, was a centuries-long process that reached a climax in the late eighteenth century and precipitated a number of aesthetic phenomena that became central to modern English national identity. Among these, the landscape garden, with its sweeping vistas, rolling hills, and lush vegetation, seemed to recover the loss of the unbounded English countryside. In fact, such gardens are icons of privatization and individualization. Unlike other accounts of the novel that focus on psychological individuation, spatiotemporal rationalization, or financial abstraction, my project emphasizes that land enclosure shaped the form of the English novel by developing aesthetic techniques that disguise both the historical and ongoing process of territorial expropriation and displacement. This analysis constitutes a widely applicable model for approaching figurations of land across various literary styles. Novels and landscape gardens are more than just parallel effects of England’s transition to capitalism. Victorian realists such as George Eliot and Thomas Hardy recognized landscape gardens as aesthetic objects with similar structural logics to those of the novel. Gardens and novels both use a variety of creative techniques to disguise their inherent artificiality through illusions of verisimilitude. Descriptions of landscape can thus be understood as moments where realist authors theorize realism. In readings of Defoe, Austen, Eliot, Hardy, and Conrad, this project establishes the evolving connection between literary landscape and English nationalism—while also reaffirming the historical ties between British realism and British imperialism. Drawing from art history and aesthetics, these readings offer a framework for understanding the related histories of English industrialization, property law, and British imperialism. The Lie of the Land understands the aesthetic surface to be just one of many mediations that document material history. As such, it is possible to read the landscape itself much as one reads a novel—as a hybrid product of formal choices and of individual and collective histories of exploitation and loss.
The potential relationship between external and internal spaces in the architectural environment of the post-pandemic era is emerging as an essential issue. Since the early 20th century, the issue of transparency inside and outside architecture has been explored in various fields. This study is motivated by the lack of a leading theory about architectural transparency in the post-pandemic era. First, it revisits the notion of phenomenal transparency in Colin Rowe and Robert Slutzky’s influential text on “literal” and “phenomenal” transparency. Next, it investigates Maurice Merleau-Ponty’s phenomenology for architectural transparency. Last, it scrutinizes practical possibilities using cases from Sejima and Nishizawa and Associates (SAANA). It finds that intertwining the cognition of natural environment and spatial experiential perceptions can create phenomenological architectural experiences. Sustainable architectural transparency may be accomplished when three factors (the visual perception of space, spatial experiential perceptions, and the cognition of natural environment) are incorporated. Further, depth functions as a medium for architectural transparency, intertwining between material and immaterial, literal and phenomenal, and visible and invisible. There is tremendous potential to conduct pilot studies based on this study, to re-evaluate architectural transparency with phenomenological ideas.
A vertente experimentalista da produção arquitetônica brasileira nas décadas de 1970 e 1980 é caracterizada por uma inventividade fundada na experimentação das qualidades plástico-expressivas dos materiais e técnicas construtivas articuladas às novas estruturas formais arquitetônicas, o que pode ser entendido como um experimentalismo tectônico, e tem, como um de seus expoentes, o arquiteto Sérgio Bernardes. Este trabalho tem como objetivo analisar, sob a ótica da tectônica, uma das obras desse arquiteto carioca - o Espaço Cultural José Lins do Rego (1980-1982) - que expressa essa essencialidade moderna de geração do novo, de acordo com o espírito da época, revelando a persistência do caráter inventivo do moderno brasileiro fundado na lógica construtiva. A pesquisa, utilizando as estratégias do estudo de caso, fundamenta-se no conceito de tectônica na teoria contemporânea da arquitetura e utiliza os parâmetros analíticos dele decorrentes. A análise permite identificar na arquitetura do Espaço Cultural uma relação dual entre a expressividade do metal (alumínio e aço) e do concreto aparente estabelecida a partir de sistemas estruturais e construtivos diferentes, de acordo com a intenção plástica dada aos diversos volumes correspondentes às diferentes funções requeridas pelo programa. Buscando ainda uma estética moderna que nasce da probidade construtiva, apesar das possibilidades técnicas do concreto armado à vista ser bastante exploradas, pouco se recorre ao seu potencial plástico. Ele cede lugar à poética da estrutura metálica, que predomina e se impõe, principalmente, através dos detalhes tectônicos.
This article explores the wide-ranging impact of inviting architecture students to increase conscious somatic awareness of their body and function, and the effects on their design process. This paper analyses the results of a Movement Awareness Intervention conducted prior to students undertaking their usual architectural design studio at the Queensland University of Technology, Brisbane, Australia. The impact of a global trend in extensive use of digital design tools has resulted in impacts on components in the architecture design process that appear to be slipping under the radar in architecture education and practice. This article addresses issues raised by Juhani Pallasmaa and Paolo Belardi, bolstered by neuroscience research by Harry Mallgrave and colleagues, to explore the impact of heightened conscious bodily awareness upon the cognitive design thinking processes required in the architecture. The case study research using mixed data collection methods on 39 participants draws upon surveys, hand notations, and audio interviews to track participant perceptions of the impact on their design process in action. Analysis of the data produced in this study addresses the concerns raised by theses seminal writers. This paper argues for new approaches to reconfiguring and recalibrating of emotional, cognitive, and physical stimulants that were once invisibly physically embedded in the traditional architectural design process to work with digital design technology.
Resumen: Se plantea una relectura de la obra de Albert Kahn desde las diferentes teorías de Semper para responder a ciertos interrogantes presentes en su obra, como cuál es la razón principal para la enorme heterogeneidad existente entre su obra industrial y no industrial, o cuál es la relación entre la innovación técnica radical y la tradición presente en el conjunto de esta obra. Ambas preguntas, se pueden contestar desde el uso de dos herramientas proyectuales heredadas de Semper: el Bekleidung o principio de revestimiento y el Stoffwechsel. Se realiza un estudio paralelo de la obra de Kahn con otros arquitectos en los que hayan sido encontradas influencias de estas teorías de una forma unánime y documentada por parte de la crítica arquitectónica. Se analiza especialmente la vertiente industrial de la arquitectura de Kahn, ya que no es concebible que este tipo de influencia, tan evidente en sus edificios de oficinas, comerciales y públicos, no tuviera ninguna permeabilidad en su obra de espacios de producción. Para ello se estudian edificios que hacen de puente entre estas dos "tradiciones," como el conjunto para la U.S Aviation School en Langley Field y el Natural Science Building en Ann Arbor entre otros. Palabras clave: Albert Kahn; arquitectura industrial; Gottfried Semper; Karl Bötticher; Commercial Style de Chicago. Abstract: This paper proposes a reinterpretation of Albert Kahn's work through the architectural theories of Semper in order to answer certain questions that have persisted about his work, such as, what is the reason for the heterogeneity of his industrial and non-industrial work and what is the relationship between his radical technical innovations and contemporary tradition. Both questions can be answered by an analysis of Kahn's work through design tools inherited from Gottfried Semper: Bekleidung, the coating principle, and Stoffwechsel.
Introduction:
In the recent academic study of architecture, "spatial composition theory" has achieved a certain result for comprehension of various architectural forms. The theory allows a cross-sectoral analysis beyond building types by extracting an arrangement of abstract volumes without finishes and scale. On the other hand, along with the practice of new materials which are continuously developed, many contemporary architectural works based on "Critical regionalism" are appearing that utilize existential information on conventionalized materials. Under these circumstances, we think that analyzing the complementary relationship between the compositional character related to the spatial forms and the superficial character related to finishes of materials will give practical insight for designing and comprehending contemporary architecture. Therefore, this study aims to clarify the spatial integration design through superimposing the compositional character by rooms and the superficial character by the finishes targeting to contemporary art museums that deploy rooms with various functions sequentially.
Methods:
Firstly, we extract rooms which are the unit space from museum and analyze its function, arrangement and continuity; then we regard the relationship among rooms obtained as "Rooms Layout" and situate the compositional character of spatial integration. Secondly, we extract finishes on the spatial component faces and analyze its classification, arrangement and continuity; then we regard the relationship among finishes obtained as "Finishes Layout" and situate the superficial character of spatial integration. Subsequently, we elicit types of the space integration design in contemporary art museums by superimposing these compositional and superficial characters of spatial integration. In addition, we compare each type and organize the relationships among the types.
Results:
The result of superposing and examining compositional and superficial characters of spatial integration in contemporary art museums elicited 11 major types of spatial integration design. Considering the three types that match the integration scope of both "Rooms Layout" and "Finishes Layout" derive the remaining eight types, it is possible to regard that the gap of the integration scope by the composition and the superficies creates the diversity of contemporary art museums. In addition, because there is no case that "no integration" in "Finishes Layout", it is possible to consider that finish is used as a means for integrating spaces potentially in contemporary art museum. In this way, we clarified that the spatial integration in contemporary art museums is characterized by variously combining the relationships such as dependence on the function, whole and part, interior and exterior, at different aspects of compositional and superficial means.
Conclusion:
Since the study that systematically considering the spatial integration of architecture from the relationship between spatial composition and superficial finish has never been seen, this study is useful as a document to comprehend the design method of the contemporary architecture which has a stronger relationship that space form and material as well as art museum.
Nowadays, some important issues in the BIM field and research are still open, and are not deeply known and really understood yet by all the BIM users and approaches; unfortunately, this critical situation implies, often, incorrect approaches and ineffective applications, especially using BIM for existing historical building, where the object oriented approach has so many limitations. In fact, the current laser scanning technology can detect just a cloud of points that is considered "non-intelligent" according to the BIM method and meaning. The paper presents an important case study: the Cathedral of Piazza dei Miracoli (Miracles Square) in Pisa. The method we propose consists of an innovative procedure combining in a two-way manner the correspondence levels between metrology and ontology of the constructive components. The paper proves that is not important to obtain the best possible level of modeling performance. We need a specific BIM approach, for “a specific building”, according with “a specific project”. We believe that it is precisely in this capacity of matching between metrological and constructive knowledge (mediated by computer graphics technology) that it is possible to identify the response to an important programmatic indication in the BIM field: "how much BIM?". This sentence was explained by Charles Eastman (recognized worldwide as the father of BIM) during his "lectio magistralis" at the Master BIM of the University of Pisa (www.unibim.it). We guess this is the way to be free from any pre-established intervention standards, and so to be adapting to a specific construction for a specific intervention’s level using specific resources.
Globalization excludes territory, carries out universal spirit as more emphasizing univalence rather than multivalence. In architectural context, universal perspective is just at doubt in its capacity to respond epoch challenge. Modernity proliferating into diversity of life aspects causes architecture attaint to hegemonic status not rich of colours, texture, ornament, and not rationalistic. Tectonic aspect in architecture is expected to be able to uplift locality dignity rooted from existing culture, nature, and material resource. This research is done with a qualitative, deductive and verificative method with study object of architectural work already available. Field observation result refers to a theory setup deductively from journal collections studies; expert is opinion so that it results in tectonic variable formulation in architecture. Research object selected is architectural work to explore tectonic architecture, known adept at exploring natural potency and local cultural riches as well as material usage of local building. A result obtained is a comprehension on tectonic in architecture and all aspects constituting it. A comprehension gained is tested to architectural work with perspective up to their implementation in the field. Finally, it concludes that tectonic aspect in architecture can be a creation alternative of locality architecture in Indonesia.
Sopo is a granary house in traditional Batak Toba architecture. Sopo is important for Batak Toba community because it serves as a place to store rice which is the source of life. Nowadays sopo is harder to find than ruma. Most of the sopo has transformed into Batak Toba house and uses as a residence. Sopo is located in Lake Toba, North Sumatra, which is prone to earthquakes. Sopo Nagari Sihotang was built in the 1920s and has experienced many earthquakes, now the sopo still survive without any structural damage. The resistance of the sopo over the years proves the sopo resilience to earthquakes. From the evidence of resilience to earthquake, its interesting to investigate the tectonics of this sopo. The purpose of the research is to understand the tectonic of Sopo Nagari Sihotang that resilience to earthquake and find local wisdom in facing earthquake disaster.The research used descriptive method with qualitative approach by describing the existing state of Sopo Nagari Sihotang and comparing it with tectonic theory and earthquake resistant structure. The sopo’s data were collected by field observation and literature study. The data are grouped into four parts, namely construction, detail, space, and ornaments that become points for analysis of tectonics. Tectonic analysis is associated with the theory of earthquake resistant structures to find out what makes tectonic of the sopo resilient to earthquakes.The result is the tectonic resilience of the Sopo Nagari Sihotang to earthquakes are found in the tectonics construction in the use of materials; tectonics detail on vertical structures and horizontal structures; and tectonics space at the story height – the activity, the spatial form – the building hape, the spatial form - the structure, and the activity - the structure. The tectonic resilience of Sopo Nagari Sihotang to earthquakes is not found in the tectonics construction and tectonics ornament. The local wisdom which are the main factors make the sopo resilience to earthquake are found on, the tectonics detail of the sopo post-batu ojahan can retain the sopo by relying on the frictional force resulting from self-weight of the sopo; the tectonics detail of the sopo post-ransang can bind every sopo posts; the use of lightweight wood materials thus reducing inertia forces. Key Words: resilience, tectonics, sopo, earthquake, Batak Toba
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