The relationship between interpretation and elaboration of architectural form

2018 ◽  
Author(s):  
Μαριάννα Χαριτωνίδου
Keyword(s):  
Le Corbusier ◽  
Architectural Form ◽  
Peter Eisenman ◽  
Team 10 ◽  
Mies Van Der Rohe ◽  
The Relationship

H διατριβή δομείται σε τέσσερα μέρη που αντιστοιχούν σε τέσσερις γενιές αρχιτεκτόνων, αναδεικνύοντας τα εννοιολογικά εργαλεία και τις μεθόδους προβληματοθεσίας που βρίσκονται στο επίκεντρο του αρχιτεκτονικού λόγου και της συνθετικής διαδικασίας κάθε ιστορική στιγμή. Διερευνάται ο μετασχηματισμός της αλλαγής του αντικειμένου της αρχιτεκτονικής μέσα από την ανάλυση των μεταλλαγών των μέσων αναπαράστασης που βρίσκονται στο επίκεντρο του ενδιαφέροντος σε κάθε γενιά που εξετάζεται και του στόχου απεύθυνσής τους. Στο πρώτο μέρος της διατριβής αναδεικνύεται ότι αυτό που ήταν στο επίκεντρο του ενδιαφέροντος ήταν ο ατομικός και αστικός χαρακτήρας του αποδέκτη της αρχιτεκτονικής και η αρχιτεκτονική συμβολίζει την αξία της κατοχής της από τον αποδέκτη. Εξετάζονται οι λόγοι για τους οποίους οι αρχιτέκτονες Ludwig Mies van der Rohe και Le Corbusier προσδίδουν ιδιαίτερη σημασία στη χρήση της προοπτικής αναπαράστασης. Στο δεύτερο μέρος της διατριβής, που εστιάζει στο έργο των το έργο των Ludovico Quaroni, Ernesto Nathan Rogers και Team 10, εξετάζεται η εντατικοποίηση του ενδιαφέροντος για την έννοια του χρήστη και η επίδραση της τυποποίησης της αρχιτεκτονικής στη διαμόρφωση της έννοιας του μαζικού χρήστη. Στο τρίτο μέρος της διατριβής, που εστιάζει στο έργο των Peter Eisenman, John Hejduk, Aldo Rossi και Oswald Mathias Ungers, εξετάζεται η μεταστροφή από την κατανόηση του αποδέκτη της αρχιτεκτονικής ως χρήστη προς την κατανόηση του αποδέκτη της αρχιτεκτονικής ως υποκειμένου. Παράλληλα, αναδεικνύεται πως η μετάβαση από την κατανόηση του αποδέκτη της αρχιτεκτονικής ως χρήστη στην αντίληψή του ως υποκειμένου υποδηλώνει ότι η σημασιοδότηση της αρχιτεκτονικής συν-διαμορφώνεται από τον αρχιτέκτονα και τον αποδέκτη. Επιχειρείται μια διεξοδική διερεύνηση των επιστημολογικών μεταλλαγών που συνοδεύουν τον παραπάνω αναπροσανατολισμό της κατανόησης της έννοιας του αποδέκτη της αρχιτεκτονικής. Στο τέταρτο μέρος της διατριβής εξετάζονται οι διαδικασίες μέσω των οποίων οι αρχιτέκτονες Rem Koolhaas και Bernard Tschumi μετατρέπουν την έννοια του προγράμματος της αρχιτεκτονικής σε μηχανισμό αρχιτεκτονικής σύνθεσης, λαμβάνοντας ως σημείο εκκίνησης της σχεδιαστικής διαδικασίας τον δυναμικό χαρακτήρα των αστικών συνθηκών. Αναδεικνύεται ότι οι προσεγγίσεις των παραπάνω αρχιτεκτόνων και η σημασία που προσδίδουν στην κιναισθητική εμπειρία της αρχιτεκτονικής βασίζεται στην παραδοχή ότι εντός του ίδιου υποκειμένου υπάρχουν αντιμαχόμενες μεταξύ τους τάσεις και δυνάμεις. Στα πλαίσια της διατριβής, παρουσιάζονται τα κύρια σημεία του μετασχηματισμού του αντικειμένου της αρχιτεκτονικής, που ακολουθούσε τον μετασχηματισμό αυτού στον οποίον απευθύνεται η αρχιτεκτονική σε κάθε εποχή. Η επιλογή να διερευνηθεί ένα ειδικό μέσο για την αρχιτεκτονική, όπως οι τρόποι λειτουργίας της αναπαράστασης, έγινε προκειμένου να διαγνωσθούν οι μεταλλάξεις του τρόπου με τον οποίο η αρχιτεκτονική ενσωματώνει ή ανταποκρίνεται σε καταστάσεις που ανήκουν σε ευρύτερες σφαίρες, όπως οι κοινωνικοί και πολιτικοί τομείς, οι αρθρώσεις μεταξύ της ειδικότητας της αρχιτεκτονικής και του κοινωνικού και θεσμικού πλαισίου της. Επίσης, αναδεικνύεται ότι οι σχέσεις μεταξύ των μέσων της αρχιτεκτονικής και της ευρύτερης σφαίρας μπορούν να γίνουν κατανοητές όταν η ανάλυση έχει ως αφετηρία την εξέταση του τι διακυβεύεται σε συγκεκριμένα αρχιτεκτονικά έργα. Η διατριβή συστήνει ένα μεθοδολογικό εργαλείο κατανόησης των επάλληλων μετασχηματισμών του αντικειμένου του αρχιτεκτονικού σχεδιασμού μέσα από τον πραγματικό και φαντασιωτικό μετασχηματισμό αυτού στον οποίον απευθύνεται. Ιδιαίτερη έμφαση έχει δοθεί στην ανάλυση των μεταλλαγών των μεθόδων διδασκαλίας στις σχολές αρχιτεκτονικής που εξετάζονται και στη σχέση των μεταλλαγών αυτών με τους μετασχηματισμούς του επιστημολογικού αντικειμένου της αρχιτεκτονικής. Παράλληλα, διερευνάται η εξέλιξη της σχέσης της φιλοσοφίας με την αρχιτεκτονική κατά τον 20ο και 21ο αιώνα.

scholarly journals LA INFLUENCIA DEL LUGAR

2020 ◽  
pp. 279-287
Author(s):  
Pablo Jara-Espinoza
Keyword(s):  
Vernacular Architecture ◽  
Modern Architecture ◽  
Cultural Environment ◽  
Human Being ◽  
Architectural Form ◽  
Palabras Clave ◽  
Mies Van Der Rohe ◽  
Relationship Of ◽  
The Relationship

Ante la necesidad de contar con criterios de orden que otorguen identidad a la arquitectura, y ante la evidente identidad que posee la arquitectura vernácula, considerando la relación de aproximadamente 3600 años entre humano y entorno, inicia la búsqueda de los criterios de orden de esta arquitectura. Al comprobar que sus criterios provienen del lugar, resulta que la universalidad de la naturaleza está presente en su forma. Mediante el análisis de las similitudes entre la arquitectura vernácula y la arquitectura moderna, se identifica la universalidad de los criterios compartidos. Tanto la arquitectura moderna como la vernácula descubren la forma arquitectónica solo al final de un proceso riguroso, en el que la estrategia estructural es resuelta simultáneamente con el programa y las particularidades del lugar, mediante una serie de decisiones tomadas con autenticidad y solvencia, dan como resultado una forma arquitectónica coherente con el entorno natural y cultural, teniendo como protagonista al ser humano. En este sentido, partiendo de los resultados de la investigación, en la cual, se comprobó que el orden formal de la arquitectura vernácula depende de los factores constantes que el lugar posee, este artículo sintetiza los resultados encontrados para analizarlos desde las similitudes teóricas respecto a la relación entre arquitectura moderna y lugar presente en la obra de Mies van der Rohe. Una vez encontradas las similitudes más evidentes se procede a identificar la universalidad en sus estrategias, de esta manera se obtienen criterios de orden que al ser aplicados otorgan identidad a los proyectos arquitectónicos contemporáneos. Palabras clave: Arquitectura, vernáculo, forma, modernidad, lugar, entorno, identidad. AbstractGiven the need to have order principles that give identity to architecture, and faced with the evident identity that vernacular architecture has, considering the relationship of approximately 3600 years between humans and the environment, the search for order principles for this architecture begins. By confirming that its criteria come from the place, it turns out that the universality of nature is present in its form. Through the analysis of the similarities between vernacular architecture and modern architecture, the universality of the shared criteria is identified. Both, modern and vernacular architecture, discover the architectural form only at the end of a rigorous process, in which the structural strategy is resolved simultaneously with the program and the particularities of the site, through a series of decisions taken with authenticity and solvency, resulting in an architectural form consistent with the natural and cultural environment, with the human being as the protagonist. In this sense, starting from the results of the investigation, in which it was proved that the formal order of the vernacular architecture depends on the constant factors that the place has, this article synthesizes the results found and analyzes them by taking into account the theoretical similarities between modern architecture and the place present in Mies van der Rohe's work. Once the most evident similarities are found, the universality in their strategies is identified; in this way, order criteria are obtained, that when applied, give identity to contemporary architectural projects. Keywords: Architecture, vernacular, form, modernity, place, environment, identity.

scholarly journals Cultural heritage conservation and communication by digital modeling tools. Case studies: minor architectures of the Thirties in the Turin area

2015 ◽  
Vol II-5/W3 ◽  
pp. 25-32 ◽  
Author(s):  
A. Bruno Jr. ◽  
R. Spallone
Keyword(s):  
Three Dimensional ◽  
Le Corbusier ◽  
World War ◽  
Cultural Goods ◽  
Modeling Tools ◽  
Representation Systems ◽  
Digital Modeling ◽  
The Relationship ◽  
New Buildings ◽  
Guide Lines

Between the end of the twenties and the beginning of the World war two Turin, as the most of the Italian cities, was endowed by the fascist regime of many new buildings to guarantee its visibility and to control the territory: the fascist party main houses and the local ones. <br><br> The style that was adopted for these constructions was inspired by the guide lines of the Modern movement which were spreading by a generation of architects as Le Corbusier, Gropius, Mendelsohn. <br><br> At the end of the war many buildings were reconverted to several functions that led heavy transformations not respectful of the original worth, other were demolished. <br><br> Today it's possible to rebuild those lost architectures in their primal format as it was created by their architects on paper (and in their mind). This process can guarantee the three-dimensional perception, the authenticity of the materials and the placement into the Turin urban tissue, using static and dynamic digital representation systems. The “three-dimensional re-drawing” of the projects, thought as an heuristic practice devoted to reveal the original idea of the project, inserts itself in a digital model of the urban and natural context as we can live it today, to simulate the perceptive effects that the building could stir up today. The modeling skills are the basis to product videos able to explore the relationship between the environment and “re-built architectures”, describing with the synthetic movie techniques, the main formal and perceptive roots. The model represents a scientific product that can be involved in a virtual archive of cultural goods to preserve the collective memory of the architectural and urban past image of Turin.

scholarly journals Caminhando entre mortos – o monumento moderno

2020 ◽  
Vol 21 (38) ◽  
Author(s):  
Guilherme Bueno
Keyword(s):  
Peter Eisenman ◽  
Mies Van Der Rohe ◽  
Walter Gropius

O artigo analisa a partir de monumentos projetados por Walter Gropius, Mies van der Rohe, Rachel Whiteread e Peter Eisenman quais as implicações de uma nova simbolização da morte frente a eventos traumáticos do século XX. Para tanto, em certas passagens são discutidas questões formais ladeadas pela abordagem do luto em Freud.Palavras-chave: monumento; holocausto; arte e arquitetura: século XX

scholarly journals El dibujo y la noción de horizonte en Le Corbusier

2015 ◽  
Author(s):  
Germán Hidalgo Hermosilla
Keyword(s):  
Le Corbusier ◽  
Personal Style ◽  
Precise Form ◽  
Relationship Of ◽  
The Relationship ◽  
Panoramic Views ◽  
Fundamental Reference

Resumen: Este trabajo indaga en la particular forma de dibujar la arquitectura de Le Corbusier: una síntesis de distintas tradiciones gráficas que adquirió en su juventud y que fue capaz de integrar coherentemente en un estilo muy personal. Intentándola definir, William J. R. Curtis lo asimiló a un sistema de apuntes taquigráficos y la consideró dotada de un poder alquímico. Es un hecho que esta forma de dibujar abrió una vía fecunda de aproximación a la arquitectura, tanto para estudiarla como para generarla. En este trabajo intentamos precisar una de sus cualidades: la capacidad de situar, que se verifica a partir de la noción de horizonte. Como se sabe, el concepto de horizonte tomó una forma precisa con el surgimiento de la perspectiva renacentista, pero que en el caso de Le Corbusier es reformulada a partir de sus primeras experiencias con las visiones amplias, paisajísticas, elevándolo a referencia fundamental del hombre en el mundo, remitiéndolo por tanto a dimensiones históricas, culturales, existenciales. Abstract: This paper explores the particular way of drawing the architecture Le Corbusier: a synthesis of different graphic traditions acquired in his youth and which he was able to integrate coherently in a very personal style. Trying to define his way of drawing, William JR Curtis assimilated it to a system of shorthand notes and considered it equipped with an alchemical power. It is a fact that this way of drawing opened a fruitful approach to studying and generating architecture. This paper attempts to clarify one of his qualities: the ability to situate, putting into play the notion of horizon. As it is known, the concept took its precise form with the emergence of Renaissance perspective, but in the case of Le Corbusier it was reformulated from his first experiences with the panoramic views, raising it to the fundamental reference of the relationship of man and world, and thus returning it to historical, cultural and existential dimensions.Palabras clave: Le Corbusier; Dibujo; Horizonte. Keywords: Le Corbusier; Drawing; Horizon. DOI: http://dx.doi.org/10.4995/LC2015.2015.554

scholarly journals PAUL RUDOLPH’S DESIGN PRINCIPLES ON HIGH-RISE OFFICE BUILDINGS IN INDONESIA CASE STUDY: WISMA DHARMALA SAKTI JAKARTA AND WISMA DHARMALA SAKTI SURABAYA

2018 ◽  
Vol 2 (04) ◽  
pp. 372-387
Author(s):  
Nabila Qirala Sukada ; Purnama Salura
Keyword(s):  
Educational Institution ◽  
Design Principles ◽  
Office Buildings ◽  
Architectural Form ◽  
The Public ◽  
High Rise ◽  
Surgical Tool ◽  
Building Form ◽  
The Relationship

Abstract- Many of high-rise office buildings in Indonesia applies efficiency and effectivity of building form,cost, and time for construction as a number one priority. As a result, high-rise office buildings appears with aminimum-articulated form, and show the dominance by using glass materials as a facade. However, there arealso high-rise office buildings that have an articulated form and its facades that are not dominated by glass,although they appear in small numbers. Wisma Dharmala Sakti Jakarta and Wisma Dharmala Sakti Surabayaare one of them. Moreover, both buildings were designed by foreign architect, Paul Rudolph. Based on thepotentials of both buildings, this research focused on Paul Rudolph’s principles in designing high-rise officebuildings in Wisma Dharmala Sakti Jakarta and Wisma Dharmala Sakti SurabayaLooking at the phenomena of high-rise office buildings in Indonesia as described earlier, this smallnumber and the articulated form of high-rise office buildings designed by Paul Rudolph in Indonesia areinteresting to be understood even more. The main purpose of this research is to reveal the relationship betweenPaul Rudolph’s design principles with buildings, which are Wisma Dharmala Sakti Jakarta and WismaDharmala Sakti Surabaya.Using an interpretative method in a qualitative research, this research utilized theories that helpsunderstanding of an office building, theories that related to Paul Rudolph’s background and common thoughtabout architecture, and also Paul Rudolph’s theory about determinants of architectural form as a literaturestudy. Building’s Anatomy Theory is used as a surgical tool to disect the study cases, which happens to beWisma Dharmala Sakti Jakarta and Wisma Dharmala Sakti Surabaya.Result of this research are six points of Paul Rudolph’s principles in designing high-rise office buildingwhich are: repetition, space, scale, rotation, light, and context. Implementation of Paul Rudolph’s designprinciples in both study cases can be seen in the dominance of rotation and repetition of building elements. Theapplication of these two principles can fulfill all the three aspects of Paul Rudolph’s design ideal, which areform, context, and cycle.Benefit of this research is to enrich architectural vocabulary about design principles of a high-riseoffice buildings in Indonesia for the concerned educational institution, as a consideration and input toarchitects and the stakeholders to be more sensitive and critical in designing high-rise buildings in Indonesia,as a reference and study case about design principles of a high-rise office buildings for students, academics,architects, and the public with the focus of study concerned, and enrich the knowledge about Paul Rudolph’sdesign principles especially in designing high-rise office buildings in Indonesia for researcher.Keywords: Paul Rudolph, Design Principles, Office, Wisma Dharmala Sakti Jakarta, Wisma Dharmala SaktiSurabaya.

scholarly journals El "hameau" vertical de Le Corbusier. Una alternativa residencial al bloque lineal

2015 ◽  
Author(s):  
Yolanda Martínez Domingo ◽  
Josefina González Cubero
Keyword(s):  
Le Corbusier ◽  
Urban Environments ◽  
Formal Structure ◽  
Summer Camps ◽  
Palabras Clave ◽  
Cylindrical Volume ◽  
Collective Housing ◽  
The Relationship ◽  
The City ◽  
Synthetic Work

Resumen: El "hameau" vertical de Le Corbusier es un prototipo de alojamiento colectivo, desarrollado como alternativa plástica a la "Unité d'habitation de grandeur conforme", quizás su obra más sintética. La torre residencial se concreta a partir de las teorías urbanas de la regla de las 7V, a través de la impronta de una de las formas elementales: el volumen cilíndrico, manteniendo prácticamente inalteradas capacidad, forma y dimensiones en cualquiera de los entornos urbanos donde se inserta, los proyectos no construidos de su última etapa para Europa. Lejos de ser un modelo genuino es deudor de otras construcciones previas, los albergues para las colonias infantiles italianas, promovidas por la fábrica FIAT en los años 30, y algunos experimentos residenciales del arquitecto francés Auguste Bossu, erigidos también por esos años en la ciudad de Saint-Étienne. El artículo traza las relaciones entre estas construcciones y las aldeas cilíndricas para solteros, analizando las particularidades de su estructura formal y la dinámica de su organización interna, para comprobar cómo son adoptadas por Le Corbusier en la constitución de la identidad de un nuevo tipo de vivienda colectiva que permanece todavía a la sombra de sus proyectos más reconocidos. Abstract: The vertical "hameau" of Le Corbusier is a prototype of collective housing, developed as a plastic alternative to “Unité d’habitation de grandeur conforme", perhaps his most synthetic work. The residential tower is generated from urban doctrine of 7V theory through the shape of one of the elementary forms: the cylindrical volume. The towers keep capacity, shape and dimensions unchanged in any urban environments where they are inserted: the unbuilt urban projects in his last stage in Europe. Far from being a genuine type, is based in other previous constructions; the children's summer camps sponsored by the Fiat factory in the 30s, and some residential experiments by French architect Auguste Bossu erected by those years in the city of Saint-Etienne. The article describes the relationship between these structures and the cylindrical villages for singles and analyzes the peculiarities of their formal structure and the dynamic of their internal organization in order to check how those constructions were adapted by Le Corbusier for the constitution of a new collective type dwelling which still remains in the shadow of his most famous projects.  Palabras clave: Le Corbusier; hameaux verticaux; comuna cilíndrica; torre residencial. Keywords: Le Corbusier; hameaux verticaux; cylindrical commune; residential tower. DOI: http://dx.doi.org/10.4995/LC2015.2015.778

scholarly journals The eye of the architect. Le Corbusier and the photograph: demonstrate, learn, remember

2015 ◽  
Author(s):  
Annarita Teodosio
Keyword(s):  
Visual Arts ◽  
Cultural Context ◽  
Le Corbusier ◽  
Palabras Clave ◽  
Representation Of Architecture ◽  
The Subject ◽  
The Many ◽  
Siglo Xx ◽  
The Relationship ◽  
Made In

Abstract: The relationship between Le Corbusier and the visual arts (drawing, photography and cinema) is deep and complex and, although the subject of numerous publications and research since the late 60s, still arouses much interest, as evidenced by the many events organized in the last years - "Le Corbusier. Vue sur la mer ", Maison La Roche, Paris, 2012; "Construire the image: Le Corbusier et la Photographie", Musée des Beaux-Arts, the Chaux-de-Fonds, 2013; or the recent "Le Corbusier and photography", IUAV, Venice, May 2015-. The paper, starting out from the researches already developed, proposes a further reflection on the relationship between the Swiss architect and the photography, paying particular interest to the shooting made in first person. The study analyzes the different approaches and the different subjects photographed in the course of his life and it is proposed to include the work of Le Corbusier in the broader cultural context of the twentieth century, a period in which the relationship between architecture and visual communication, thanks to the many possibilities offered by technological innovations, it becomes increasingly close and inevitable. Resumen: La relación entre Le Corbusier y las artes visuales (dibujo, fotografía y cine) es profunda y articulada y, aunque es objeto de numerosas publicaciones y investigaciónes desde el finales de los años 60es, todavía despierta mucho interés, como lo demuestran los diversos eventos realizados en los últimos años - “Le Corbusier. Vue sur la mer”, Maison La Roche, Parìs, 2012; “Construire l’image: Le Corbusier et la photographie”, Musée des Beaux-Arts, la Chaux-de-Fonds, 2013; o la más reciente “Le Corbusier e la fotografia”, IUAV , Venezia, mayo 2015-. El articulo, a partir desde investigación ya desarrollado, propone una reflexión más sobre la relación entre el arquitecto suizo y la fotografía, prestando especial interés a las realizata en primera persona. El estudio analiza los diferentes enfoques y diferentes sujetos fotografiados en el curso de su vida y se propone de insertar la obra de Le Corbusier en el contexto cultural más amplio del siglo XX, un período en el que la relación entre la arquitectura y la comunicación visual, gracias a las muchas posibilidades que ofrecen las innovaciones tecnológicas, se vuelve cada vez más estrecha e inevitable.  Keywords: Le Corbusier; photography; representation of architecture. Palabras clave: Le Corbusier; fotografia; representaciones de la arquitectura. DOI: http://dx.doi.org/10.4995/LC2015.2015.947

scholarly journals The Modern Project: A Research Hypothesis

2019 ◽  
Vol 4 (3) ◽  
pp. 83-89
Author(s):  
Paola Viganò
Keyword(s):  
Political Change ◽  
Le Corbusier ◽  
Land Ownership ◽  
The Political ◽  
Architectural Form ◽  
Social Transformations ◽  
Modern Project ◽  
Fresh Perspective ◽  
Definition Of ◽  
Modern Sense

The project of the industrial modern city comprises many heterogeneous paths and stories, in particular those regarding the CIAM (Congrès Internationaux d’Architecture Moderne) Functional City. They all come together in a discourse that links the architectural form to positive urban and social transformations. Such a discourse was interpreted from two different perspectives: The first hypothesized the need for political change starting from the collectivization of land ownership as stressed in the declaration of CIAM at La Sarraz in 1928, whereas the second theorised the capacity of new architecture to improve living conditions irrespective of the political context as supported by Le Corbusier. Starting from these premises, the present commentary proposes a fresh perspective on the functional city project, where the research on the minimization of effort contributed to a different definition of work from the Marxist one and in the modern sense. Therefore, the design and the space of the Existenzminimum blatantly contributes to the construction of a new routine, inspired by minimum effort, with the creation of a new effort–relaxation–rest rhythm and repetition.

The New Vitality of Modern Concrete Constructions

2014 ◽  
Vol 953-954 ◽  
pp. 1550-1555
Author(s):  
Tie Mao Shi ◽  
Dong Xu Xu ◽  
Feng Ming Xi
Keyword(s):  
Building Materials ◽  
System Analysis ◽  
Building Energy ◽  
Building Energy Efficiency ◽  
Ecological Benefits ◽  
Architectural Form ◽  
Concrete Building ◽  
New Perspective ◽  
The Relationship

The paper compared the differences between modern concrete and traditional concrete with a new perspective on concrete constructions. The renewability, building energy efficiency, ecological benefits and value of modern concrete constructions are analyzed. How the modern concrete changes the disadvantages was explained by case study and system analysis. The paper paid more attention to the relationship between the generation of architectural form and concrete building materials. The analysis showed that modern concrete was still a vital building material with the effect of carbon sequestration.

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