What Is The Frequency Of Home?

          

When we think of our home many familiar scenes come to mind. Possibly the smell of fresh coffee in the morning, or the soft cozy chair you sit and read in after a long day. Whatever the case is, these senses make up the environment we inhabit. When we juxtapose these senses it can often create a dynamic affect, which Aldo Van Eyck labels “Twin Phenomenon.”

            The concept of a “Twin Phenomenon” can be felt through both spatial and physical senses. The mood of a dark shadowy room is very different from that of a room utilizing natural light. Likewise a room that is large seems to imply social gathering where as a smaller room may imply personal refection. It is evident that architects use these “Twin Phenomena” to influence how people feel in a space. A built example of this technique can be seen by Daniel Libeskind’s Jewish Museum in Berlin. The museum showcases exhibits about the Jewish culture throughout history. The holocaust exhibit in particular uses a confined dark spaces to invoke a feeling of grief from the museum’s visitors. The “Twin Phenomena” Libeskind utilizes in the exhibit is light verses dark and restricted verses open spaces. It is clear that using these juxtapositions of senses can be very powerful, so the question is how do we as designers use these techniques to create a better environment for people to live in?

            The sentiments derived from these “Twin Phenomena” are what make a space into a place. A place implies a human connection; a space can be described with out human context. Aldo Van Eyck advocated a strong sense of place when he stated, “Whatever space and time mean, place and occasion mean more. For space in the image of man is place, and time in the image of man is occasion.”

Works Cited:

Aldo van Eyck, "place and occasion: Home for Children, Amsterdam" Progressive Architecture, September 1962 (New York: Reinhold Publishing, 1962) 155-160.

"Studio Daniel Libeskind: Jewish Museum Berlin." Studio Daniel Libeskind: Homepage. Web. 25 Jan. 2011. <http://www.daniel-libeskind.com/projects/show-all/jewish-museum-berlin/>.

Structuralism: Man Reunites With Architecture

- Le Modulor

            Structuralism is the drive to connect a permanent built object to the everyday lives of people.  Comparatively, Structuralism is on the opposite spectrum from Rationalism. Where as Rationalism ignores the type of occupant, Structuralism attempts to harmonize with the needs of the occupant. The way an individual preserves their environment is very important in defining structuralism, and because of this the human scale must be taken into careful consideration.

            The human scale can be measured by how the body’s senses are engaged through the particular environment. In the essay “A Plan For Tokyo, 1960: Toward a Structural Reorganization,” Kenzo Tange talks about the urban spatial order and its relationship to the human scale. Tange states, “…Man himself continues to walk in steps of a meter or so, and we are still surrounded by the unchanging human scale. Furthermore, whereas the life cycle of large-scale construction is growing larger, the life cycle of our houses and the articles we use in daily activities is gradually growing shorter.” This notion that the measure of a man’s stride forms a relationship with the build world, reflects on Le Corbusier’s work with Le Modulor.  Le Modulor was developed by Corbusier to design every element of a project according to human scale and proportions. Using this method of scale and proportion gives the architecture a unique personified characteristic that pays tribute to the people inhabiting the spaces.

            In addition to human proportion and scale there is another element that can help link man back to architecture. The connection between the built environments we all inhabit and the daily objects we all use. Kenzo Tange argues that there are two conflicting extremes “the major structures which have long life cycles… restriction individual choice… and the minor objects that we use in daily living… expression of free individual choice.” One main goal of structuralism is to “create an organic link between these two extremes…” (Tange) I believe that individuals would be more satisfied with their living and working conditions if the spaces reflected a style which conformed to their personal needs. After all is a building truly functional if it fails to accommodate the needs of its inhabitants? 

Works Cited:

Kenzo Tange, "A Plan for Tokyo, 1960: Toward a Structural Reorganization," from Architecture Culture 1943-1968: A Documentary Anthology, edited by Joan Ockman (New York: Columbia Books of Architecture/Rizzoli, 1993) 

Le, Corbusier. The Modulor: a Harmonious Measure to the Human Scale, Universally Applicable to Architecture and Mechanics. Boston: Birkhauser, 2000. Print.

Lecture with Michel Rojkind

- Michel Rojkind Arquitectos

The past few days I have been researching “what is architectural context?” After listening to Michel Rojkind’s lecture I realized that there is an important contextual element I have been overlooking: local construction and traditional techniques. 

The form of a building can be manipulated by the knowledge and technical capabilities of local workers. One implement of this local construction method is the Nestle Application Group Building. The design of the building required semi-spherical voids to be taken out of the lower floors. Instead of using a complicated and technical method, Rojkind took a more rudimentary approach by constructing the semi-spherical forms from rebar arches. This simplified the construction process and allowed variation in the forms, making them more unique. In addition this type of construction made the project more sustainable by keeping the materials on site, rather than sending them elsewhere to be manufactured. 

By using local construction Rojkind is bowing to the local context of the project. The type of construction capability changes from project to project, but these differences are what make a project harmonize with its context.

The Process Of Designing: Context, Concept, Diagram, & Parti

(Frederick)

“To be an architect is to possess an individual voice speaking a generally understood language of form.” - Robert A. M. Stern

            What does it mean to understand the language of form? How does an architect begin to create a form? What criteria should be included in an architectural form? These are all questions that should be addressed in the design process of any project. During the design process the architect should be developing the context, concept, diagram, and parti through simultaneous analysis. All of these elements feed off each other and ultimately create the form.

            If design is a process with the form as an end resultant, there must be a logical starting point? Many architects would debate what the starting point is in a design. In my own experience I would signify context as the first building block in a design because it gives specificity to the project.  The formal definition of context is “That which surrounds, and gives meaning to, something else.” (Howe) The origin of the word literally means, “to join by weaving.” In language words are joined together to influence the overall meaning of a sentence. When a quote is taken out of context it often loses its effect or meaning, the same is true with architecture. Architecture needs context to give it meaning. Eero Saarinen says this about context, “Always design a thing by considering it in its next larger context - a chair in a room, a room in a house, a house in an environment, an environment in a city plan.” The context also gives an operating limit to the concept.

            In “Design Drawing” Francis Ching defines concept as “a mental idea or image capable of generating and guiding the development of a design.” Developing a concept based on context can be an arduous task. Ching sets up some guides lines that all concepts should cover. A concept should be:

·  Inclusive: capable of addressing the multiple issues of a design problem

·  Visually descriptive: powerful enough to guide the development of a design

·  Adaptable: flexible enough to accept change

·  Sustainable: able to endure manipulations and transformations during the design process without a loss of identity

As mentioned earlier concept is directed from the context of a project. Because every project instigates new context and problems the concept should be unique to the project. One graphic way to represent elements of a concept is through diagrams.

            “A diagram is any drawing that explains or clarifies the parts, arrangement, or operation of something.” (Ching) When drawing diagrams, the object is not to stimulate the end result but to show an abstraction that represents a main idea. In the beginning stages of design it is important to start with a varying rang of possibilities so that when an opportunity presents itself, in the design, it can be further explored. Diagrams are often helpful to analyze relationships between elements in the design. For example a circulation diagram could be helpful in understanding how the different parts of program become homologous. Another specific type of diagram is a parti.

            Matthew Frederick, author of “101 Things I learned In Architecture School” interprets a parti as, “…the central idea or concept of a building.” Parti diagrams are often used to explain how the concept affects the general experience of the building. A parti can also help clarify how the contextual information affects the concept. The circumstances of a project should influence and help shape the parti. According to Fredrick “some will argue that an ideal parti is wholly inclusive – that is informs every aspect of a building from its overall configuration and structural system to the shape of the doorknobs. Others believe that a perfect parti is neither attainable nor desirable.” In my opinion the parti becomes a visual story that communicates the steps taken to arrive at a given concept. (context>concept>parti)

            In the design process an architect will go through a number of concepts, diagrams, and parties before finding the right one. The important thing in this process is that one idea will give into several new ones. An idea must be worked and reworked before it can be finalized and eventually become a physical architectural object. Henry Watton, a famous English author, once said, “In architecture as in all other operative arts, the end must direct the operation. The end is to build well. “

works cited:

Ching, Frank, and Steven P. Juroszek. Design Drawing. New York: J. Wiley, 1998. Print.

"context." The Free On-line Dictionary of Computing. Denis Howe. 11 Jan. 2011. <Dictionary.com http://dictionary.reference.com/browse/context>.

Frederick, Matthew. 101 Things I Learned in Architecture School. Cambridge, MA: MIT, 2007. Print.

Architecture Is Sociology In Material Form

           

           A long, long time ago back in high school, my English teacher made us read “1984” by George Orwell. The book basically discusses the effects of an Oligarchical form of government on society. I can vividly remember one scene in the book where Orwell describes the Ministry Of Truth, which is the main government building. Orwell does an excellent job of making the building sound ominous; he states, “…it was startlingly different from any object in sight. It was an enormous pyramidal structure of glittering white concrete, soaring up, terrace after terrace…dwarf the surrounding architecture.” (Orwell) From this description the reader automatically understands what the building is communicating, dominance over society.

            The language a building speaks should clearly communicate the architect’s intentions. In “Rethinking Architecture” Umberto Eco breaks down the idea of architectural language into codes. Eco differentiates these codes as primary functions and secondary functions. The primary function denotes architecture as a “functional object.”  (Eco) The program and initial utility of the building are all primary functions. Eco describes primary function as “…the first meaning of a building is what one must do in order to inhabit it – the architectural object denotes a form of inhabitation.” (Eco) The secondary function connotes architecture as a “symbolic object.” (Eco) I believe that it is this secondary function that separates architecture from ordinary buildings. The architect fills their building with symbolic meaning, which allows it to communicate with society. Eco states this about implied meaning “we said that besides denoting its function the architectural object could connote a certain ideology of the function. But undoubtedly it can connote other things.” (Eco) The architect can only imply these secondary meanings into the design; it is up to the individual to interpret the signs.

            The architect becomes a sociologist when assumptions are made about how people react to symbols. Subconsciously people analysis symbols and subsequently make decisions based on their interpretations. The use of material an architect chooses states a lot about a space. For instance steel and concrete may appear “heavy” giving the impression of strong structure, where as a “light” material such as glass or latticework may give the impression of fragile structure. The use of proportion can also give off certain connotations. Large spaces often take a hierarchical role, which can imply importance or formality. Smaller spaces have the same power; they can imply intimacy or inter-perspective. It is my opinion that great architecture fulfills the primary functions needed but couples it with the connotative power of the secondary functions.

Citations:

Orwell, George. 1984: a Novel. New York, NY: Published by Signet Classic, 1977. Print.

Eco, Umberto "Function and Sign: The Semiotics of Architecture," from Rethinking Architecture (London: Routledge, 1997) 173-193 (originally published in 1986).