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The qualities of the basics: Base Building Design
2010
A building can be understood as an integration of two parts, a base including structures serving multiple users and frame physical conditions for inhabitation, and an attachment including all the elements changing in times and determined by users. The skills of designing a base, rather than a complete building is beyond traditional architectural discourse and yet to be understood. The paper firstly introduced the concept of base building, the significance and its relation with the separate components-the Infill. Then it describes the qualities of the base buildings characterized by permanency, adaptability, simplicity, organized public spaces, and efficient service systems. The paper analyzes buildings designed by Baumschlager Eberle (BE) by focusing on four base systems, namely the structure, operable facade, common spaces in hierarchies, and low energy service system. It demonstrates the sustainable approaches of architecture: long lasting, high comfort with low energy. It concludes that the qualities of the architecture ensured by the initial design are mainly embedded in the base buildings. A skillful base building design with high quality opens a new horizon for the architecture.
A Simple Introduction to Architecture II ed.
2019
Introduction Chapter 1. What is design? 1.1. Introduction to design 1.2. Aims of architectural design 1.3. Design thinking in architecture 1.4. Architect's and engineer's viewpoints of profession Chapter 2. Basic rules of architectural design 2.1. Architectural composition 2.2. Elements of art 2.3. Basic principles of composition 2.4. Other principles of composition 2.5. Design tasks 2.6. Objects of architectural design 2.7. Scope of architectural design 2.8. Scale of design 2.9. Architectural project contents Chapter 3. Design tools 3.1. Classical drawing toolsfrom pencil to technical pen 3.1.1. Drawing tools for conceptual sketches and basic survey drawings 3.1.2. Drawing tools for technical drawings 3.2. Modern drawing toolscomputers and others 3.2.1. Computers as drawing tools 3.2.2. Service toolsprinters and scanners Chapter 4. The most important sources of information in the design process 4.1. Chosen literature and net sources 4.2. Building codes and design standards 4.2.1. Why do we use building codes? 4.2.2. Introduction to the building code in USA 4.2.3. Building codes in Europe 4.3. Survey drawings 4.4. Existing architectural designs Chapter 5. Design in practice 5.1. Types of architectural drawings and sketches 5.1.1. Thinking on paper 5.1.2. Conceptual sketches 5.2. Full design conception 5.3. Architectural drawings 5.4. Executive and architectural detail drawings Chapter 6. How to lead the design process? 6.1. The most important participants of the design process 6.1.1. Architect managing the design process 6.1.2. Collaborators of the architect 6.2. Organization of architectural workplace 6.3. Organization of the design process 6.4. Beginning of the design processpreparatory phase 6.4.1. Design problem formulation 6.4.2. Collection of design data 6.5. Design in practice 6.5.1. Design brief and its modification 6.5.2. Methods of design problem solving 6.5.3. Design problem solving and its verification Chapter 7. Cooperation between architect and client 7.1. Knowledge, experience and intuition of architect 7.2. What are the client's expectations? 7.2.1. Client's perception of cooperation with architect 7.2.2. Architect's perception of cooperation with client 7.2.3. Needs of clients in example of dwelling housescase study 7.3. Which drawings, and how do we show them to our clients? Bibliography List of Figures
Plastic 22 Masonry The pathos of masonry 23 The materials 32 Swiss clay bricks and blocks 33 Masonry terminology 35 Design and construction 36 Masonry bonds 38 Tying and reinforcing double-leaf masonry walls 42 The skill of masonry construction 43 Types of construction 49 Prefabrication 52 Concrete On the metaphysics of exposed concrete 56 The materials 60 The concreting process 63 10 rules for the production of concrete 66 Exposed concrete surfaces 67 Floor supports, exposed concrete with internal insulation 69 The fixing of heavy external cladding (concrete) 70 The fixing of heavy external cladding (stone) 71 Chart for establishing preliminary size of reinforced concrete slabs 72 Linear structural members 73 Systems with linear members 74 Planar structural members 75 Systems with planar structural members 76 Timber Wood: indifferent, synthetic, abstract -plastic 77 The materials 82
RATIONALISTIC AND INTUITIvE WAY TO ARCHITECTURE
2018
Today, the emblematic architecture has become almost exclusively self-referential, and the traditional manuals of composition for elements and parts seem to have lost all the value of legitimacy and recognition. To understand these transformations, it is necessary to reject the „rational and irrational” oppositional binomial, to try to understand the wider range of compositional operations within the structure of the architectural language itself. This combination of „rationality/intuition” does not have in itself a character of exclusivity, because in every project there are some rational and irrational intertwined elements. These aspects are in our memory and our mind is able to re-elaborate them through specific narratives that are also nourished by the important experiential aspect, establishing new relationships and architectural outcomes.
FORMING AND CENTERING Foundational Aspects of Architectural Design
Emerald Publishing, 2017
The analysis of architecture often includes topics such as: • Issues of structure, balance, and geometry • Aspects of basic elements (floor/ wall/ roof; point/ line/ plane/ volume) • Organization, transformation, and progression of form and space • Formative addition and subtraction • Hierarchy and axis • Elements of focus and frame • Tension and linear form But the addressing of such topics has generally remained multifarious and diverse: more in the nature of a collection of independent issues than an overarching analytical argument. In this book, fresh looks at such issues are assembled and recast into a fully integrated narrative, based on two foundational and complementary aspects of architectural design: those that give shape and those that give focus—forming and centering. While occurring in response to many theoretical and practical issues, forming strategies have their own structure and nature. Centering morphologies may be strong or weak, focused or distant, with corresponding ramifications for the merits of the project and the experience of the user. Many examples and case studies support these arguments, which bring new insights into well-known works, and are illustrated with over 400 concise analytical drawings. Full-page synthesis diagrams summarize central points. Nearly every work of architecture can be characterized by specific approaches to forming and centering. An awareness of these “underpinnings” would facilitate a more informed approach to architectural design problems, as well as a deeper understanding of the central issues (and flaws) embodied by completed works of architecture.
Introduction to Architectural Theory
2018
“Architecture is a thoughtful making of space” -- Louis I. Kahn If theories are a set of systems or suppositions that undergird how a certain thing operates, the theory of architecture, according to the architect Louis I. Kahn, must entail a thoughtful making of space. So, what then constitutes a “thoughtful making of space?” And a thoughtful making of space for whom? Many scholars, architects and thinkers have been trying to answer this question. The fundamental problem with answering this question lies in the nature of architecture as a “practical” rather than a theoretical discipline. What does it mean for space to be thoughtfully made – comfort, function, and aesthetics? All of these qualities are not merely architectural: Comfortable buildings can be designed by engineers who understand conventional and artificial ventilation; in a similar way, aesthetic edifices only need to be designed by those trained in the fine arts of composition and motif replication. Is there mere theory of architecture? It is an accepted norm that architects “make” things -- buildings, spaces, landscapes; yet, the difference between “simply making something” and “thoughtfully making something” is enormous. Unlike the natural sciences or mathematics, architectural can hardly be undergirded, explained, or experienced by a set of fixed ideas or suppositions. As the historian and theorist Stanford Anderson argues, architecture is “quasi-autonomous,” which may explain why any attempts to see architecture as something else often, if not always, fail. The prime example being that any architectural approaches that end, stylistically, with “-ism,” such as modernism, postmodernism, deconstructionism, to name a few. In this course, we will focus on this very quasi-autonomous quality of architecture in its capacity to “make space” thoughtfully.” In the spirit of skepticism, we will investigate the claims that (a) architectural theory exists and (b) the central elements of such claims are humans and their social relations. By oscillating between reading closely related ideas and oppositional ideas, students will be exposed to a selected range of concepts developed by philosophers, historians, and social theorists in their attempts to come to terms with what they believe to be architecture. These attempts are something we may call “architectural theory.” Chronologically, we will examine socio-cultural ideas in which architecture plays a role as either the source or the outcome. In this course, we will seek to understand architectural theory through the exploration of the economic, political, and cultural roles of architecture. Two sets of readings will be introduced for each topic: classic theoretical and philosophical writings, and writings specific to architecture.
Theory of Architecture- 2 (Concepts)
Architectural theory is the act of thinking, discussing, or most importantly writing about architecture. Architectural theory is taught in most architecture schools and is practiced by the world's leading architects. Some forms that architecture theory takes are the lecture or dialogue, the treatise or book, and the paper project or competition entry. Architectural theory is often didactic, and theorists tend to stay close to or work from within schools. It has existed in some form since antiquity, and as publishing became more common, architectural theory gained an increased richness. Books, magazines, and journals published an unprecedented amount of works by architects and critics in the Twentieth century. As a result, styles and movements formed and dissolved much more quickly than the relatively enduring modes in earlier history. It is to be expected that the use of the internet will further the discourse on architecture in the Twenty first century.
2011
The use of general descriptive names, registered names, trademarks, etc. in this publication does not imply, even in the absence of a specific statement, that such names are exempt from the relevant protective laws and regulations and therefore free for general use.