CST SABE A.A. 2018/19 ARCHITECTURAL DESIGN_I TECTONIC & ORDER. Dr. Manlio MICHIELETTO ARCHITECTURAL DESIGN_I LECTURE_001

Transcription

1 CST SABE A.A. 2018/19 ARCHITECTURAL DESIGN_I Dr. Manlio MICHIELETTO 1

2 INTRODUCTION 2

3 INDEX 1. The tectonic principles of building 2. Architecture 3. Principle 4. Tectonic 5. Order 6. Tectonic+Order 7. Karl Bötticher 8. Gottfried Semper 9. Building 10. Architectural Composition 11. Material Form - Technique

4 Le disastre contemporain ou la libertè totale de l epace? Le Corbusier 4

5 ARCHITECTURE: Architecture is both art and technic of building construction. (BAUKUNST) the art of building starts by putting two bricks carefully together. Mies Van der Rohe 5

6 ARCHITECT = ARCHITECTON = ARCHI+TECTON = MASTER BUILDER The Greek for to bring forth or produce is tikto. The word techne, technique, belongs to the verb s root tec. To the Greeks techne means neither art nor handicraft but rather: to make something appear, within what is present, as this or that, in this way or that way. The Greeks conceive of techne producing, in terms of letting appear. Techne thus conceived has been concealed in the tectonics of architecture since ancient times. 6

7 TECTONIC: The art of assembling elements. The art of assembling elements accordingly with the material s characteristics in order to set up a form. 7

8 PRINCIPLE:Concept that defines one of the compositive doctrine foundations. The base from which rises our reasonig about Architecture. Base rule, order of our thinking. Geometrical/Proportional, typological, technical/building principle. 8

9 ORDER: The arrangement or disposition of elements in relation to each other according to a particular sequence, pattern, or method. Order (Greek taxis) is the ordering of parts alone and as a whole, and thus implies the concepts of a module and symmetry. Vitruvius, The ten books of Architecture, Book I 9

10 TECTONIC + ORDER: wrap the natural form of building with the symbolic element of the order. 10

11 Karl Bötticher ( ) Die Tektonik der Hellenen

12 Karl Bötticher, Die Tektonik der Hellenen The debate about the phenomenon of tectonics occurred in Germany already in the middle of the nineteenth century. It was started by Karl Boetticher ( ), who differentiated by means of the Greek temples between Kernform (core-form), i.e. the constructive parts themselves, the core of the building - ontology -, and Kunstform (artform), i.e. the illustration of their function, the art-form of the building - representation - (Frampton 1993, 87). 12

13 Karl Bötticher, Die Tektonik der Hellenen Kernform (core-form) - Kunstform (art-form) Iktinos and Kallikrates, Doric Order Parthenon, Athens, BCE 13

14 Karl Bötticher, Die Tektonik der Hellenen Kernform (core-form) - Kunstform (art-form) Iktinos and Kallikrates, Doric Order Parthenon, Athens, BCE 14

15 Auguste Choisy, The Doric Order Origin,

16 Karl Bötticher, Die Tektonik der Hellenen Kernform refers to the materiality of the object and thus is connected to the object s tectonic presence, the term Kunstform is a conceptual veil that overlays the column giving it its characteristic expression. What is essential to Kunstform is that it is the site of an appearance tha is not reducible to mere tectonic presence. Kunstform is not just appearance it is an appearance whose content is recognized. 16

17 Klenze Vs Döllgast, Detail of south facade Alte Pinakothek, Munich 17

18 Klenze Vs Döllgast, Detail of south facade Alte Pinakothek, Munich 18

19 Gottfried Semper ( ) The Four Elements of Architecture

20 Gottfried Semper, The Four Elements of Architecture 1_HEARTH (metallurgy/ceramics) 2 2_ROOF + FRAME (carpentry) 3_ENCLOSURE (textile/weaving) 4 3 4_MOUND/EARTHWORK (masonry) 1 20

21 Gottfried Semper, The Four Elements of Architecture I see myself forced to go back to the primitive conditions (Urzustände) of human society in order to come to that which I actually propose to set forth. I shall do it as succinctly as possible. The first sign of human settlement and rest after the hunt, the battle, and wandering in the desert is today, as when the first men lost paradise, the setting up of the fireplace and the lighting of the reviving, warming, and food preparing flame. Around the hearth the first groups assembled; around it the first alliances formed; around it the first rude religious concepts were put into the customs of a cult. 21

22 Gottfried Semper, The Four Elements of Architecture Throughout all phases of society the hearth formed that sacred focus around which the whole took order and shape. It is the first and most important, the moral element of architecture. Around it were grouped the three other elements: the roof, the enclosure, and the mound, the protecting negations or defenders of the hearth s flame against the three hostile elements of nature. (Semper, 1851, p. 102) 22

23 BUILDING: Compose conveniently more elements establishing appropriate reletionships among them. It concerns both the structure and the construction of space and form. 23

24 Friedric Gilly 24

25 Friedric Gilly 25

26 ARCHITECTURAL COMPOSITION: 26

27 The plan is what in a game of chess is the opening: it is the beginning of the game, or, as in Vitruvius, theactof putting in order the architectural themes inside the architect s mind ( ), the taxonomy of the primary elements. Luciano Semerani, Architectural composition lectures. 27

28 ...architectural composition is actually the arrangement and organisation of a series of elements according to some principles and rules, for a very precise aim, to take place in a very definite and precise place (from the piece of paper to the piece of land where the building will be). Patrizio M.Martinelli, Elements of Games: Imagination Strategies for Architecture. 28

29 But the tactics and strategy, typical of a chess game, are conceptual actions also belonging to the architect s work, useful in the interior struggle of the architect himself while he draws, but, in a more prosaic way, also when he has to deal with laws, clients or builders. Patrizio M.Martinelli, Elements of Games: Imagination Strategies for Architecture. 29

30 But another instrument is absolutely necessary for the chess players, and of course, for the architect: imagination. [ ] So, imagination is the instrument of our mind which gives us the possibility to create something new, but also to see before, to anticipate the future, in order to take the right decision, to make the perfect move. Patrizio M.Martinelli, Elements of Games: Imagination Strategies for Architecture. 30

31 Le disastre contemporain ou la libertè totale de l epace? Le Corbusier 31

32 THE ELEVATION Solid and filigree construction On the occasion of a lecture on the morphology of the architectural at the ETH Zurich architecture theorist Kenneth Frampton drew on the works of Eugène Viollet le- Duc and Gottfried Semper, who together pioneered the theory of architecture, to distinguish between the development of architectural forms from their origins as earthworks and roofworks, or with the terms stereotomy (solid construction) and tectonics ( filigree construction) that are used in architecture theory. 32

33 THE ELEVATION Solid and filigree construction Stereotomy (solid construction) and tectonics ( filigree construction) 33

34 THE ELEVATION 1. Solid and filigree construction Stereotomy (solid construction) and tectonics ( filigree construction) Hyle Material Morphe Form 34

35 THE ELEVATION 1. Solid and filigree construction Stereotomy (solid construction) and tectonics ( filigree construction) Material Form Technique 35

36 ? 36