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2014, Routledge
Architectural Topographies is a critical dictionary for architects and landscape architects in which the graphic lexicon can be read from a beginning, the ground, to a conclusion, the specific case studies. Meant as a tool to help you recognise, analyse, choose, and invent solutions, the book's key words refer to the physical and material relationship between construction and ground; to where and how the link is built; to the criteria, methods, and tools used to know and transform the ground; and to the possible approaches to the place and their implications on the way the earth is touched.
LivenARCH 2021: OTHER ARCHITECT/URE(S)
Elevated Architecture: The Missing Relation with the Ground2021 •
III ICHT 2019 COLÓQUIO INTERNACIONAL IMAGINÁRIO: CONSTRUIR E HABITAR A TERRA DEFORMAÇÕES, DESLOCAMENTOS E DEVANEIOS 16-18. ABR. 2019 SÃO PAULO ATAS
Recreating the earth: moving mountains and imagined topographies in contemporary architecture2019 •
The present investigation intends to broaden the discussions about contemporary architecture, mainly in what concerns its integration issues with land use and ecology, and in this process, to contribute to enrich the current debates on the imaginary by proposing a dialogue towards a paradigm shift, encompassing alternative ways of doing architecture and inhabiting collectively the earth. Departing from the multifold interpretation of architecture as a subtraction to earth (encompassing simultaneously the reference to tangible excavated architypes and the notion of environmental deficit), the paper observes the emergence and formulation, within contemporary architecture and urban projects, of an alternative response, in progressive consolidation, centred on the theme of recreated topographies. Focusing on a set of built and unbuilt cases projects, which demonstrate a variety of simulated landscape forms in its design integration with local ecosystem services, this analysis aims to characterize and define these works, unveiling the subjacent motives and contextual influences behind them. Questioning what consequences their premises would be able to introduce in current urban fabrics and problematics, it is then discussed the possible potentialities and shortcomings of this approach, including the extents of its dissemination possibilities, and its role in overcoming contemporary social and environmental issues, within and without urban areas.
ACSA Fall Conference - PLAY with the Rules
Negotiating of the Site Towards Creating an Architectural Expression2018 •
Architectural design involves a negotiation of the built intentions of the designer within and among the contextual site. Engaging in “play” with a site requires a designer to strategize how to approach the earth effectively to sculpt space, generate form, and employ structure. Consideration of the site’s ground as a pliable surface and forgiving mass, instead of an impermeable condition, can lead to new forms of architectural expression and encourage “play” towards the creation of complex geometries that blur the demarcation between the earth and the sky. The terms stereotomic and tectonic have been defined and discussed by various authors, such as Gottfried Semper, Kenneth Frampton, Robin Evans, and Gevork Hartoonian. Exploring the writings of these authors reveals that these terms have variations in their descriptions towards methodological approaches to architectural design. Robin Evans, in The Projective Cast, defines stereotomy by its etymological derivation: the science of cutting solids. For Evans, stereotomy indicates a subtractive process, concerned with the carving of voids from a solid mass and the resultant surfaces generated to create and define space. Comparatively, Semper’s definition of stereotomy, in Style, is a classification of architecture related to the “earthwork, formed out of the repetitious stacking of heavy-weight units.” Semper’s definition suggests an additive process using a taxonomy of aggregated units as a means to extend the mass and strata material of the earth beyond the ground plane towards the architectural creation of a self-supporting structural element. Tectonics is generally accepted as the art of construction, although explicit explanations also vary among the aforesaid authors in pertaining to this idiom as an approach to architectural design processes and applications. Frampton, in Studies in Tectonic Culture, addresses the tectonic as the lightweight frame related to the sky, characterized by its temporary condition, opposed to the permanence resulting from sterotomic processes of architecture more closely associated with the earth. By contrast, Hartoovian emphasizes that the art of construction influences our sensitivity to define space. In his book, The Ontology of Construction, Hartoonian focuses on the methods and approaches to creating and detailing structural aspects of architecture, as he beckons the importance of theatricality between the stereotomic and tectonic processes as stated, “It can be inferred that between the structural utility of architectonic elements and their analogical representation, there is a ‘void,’ so to speak, where the tectonic resides. This void molds architectural knowledge, that is the logos of making.” In 2018, second-year architecture students researched, critiqued, and formulated informed interpretations of the terms tectonics and sterotomics. The intent of this paper is to present the work of these students, over a series of sequential projects, through the lens of their applied interpretations of tectonics and stereotomics. These terms served as a basis for a methodological approach to architectural design that commenced with the engagement and manipulation of the site’s surface and mass, through additive and subtractive processes, towards creating a new architectural expression.
2017 •
As digital technologies revolutionise the ways in which buildings are produced there is a growing risk for architecture to become a practice without a theory. Space syntax has contributed to architectural research, through the description of systematic relationships between patterns of use and spatial phenomena. Yet, in the last three decades it has primarily leaned towards a theory of the city 1. These are studied as the collective products of society that are either self-organising (cities), or operate independently of the agency of their architects (buildings). Yet, from the viewpoint of architecture as a social discipline, there is a need to describe buildings and their relationship to the city not simply as the emergent products of society but also as products of design. This type of study requires theories and tools that describe topo-geometric properties, or the interaction of spatial with geometrical patterns. It also needs to combine historical research with morphological analysis. In this paper I explore the relationship between topology and geometry through three key periods of Western architectural production: first, the classical invention of geometric notations in architectural drawings; second, the shift of emphasis by modern architects to movement and visual information, freeing architecture from constraints of axial geometrical planning; finally, the end of geometric and notational limitations on the variability of forms with the rise of digital technology. Rather than providing a comprehensive account of architectural design, this paper aims to understand the morphological traditions from which contemporary architectural spaces and forms derive. I argue that as much as space has been a silent instrument in architectural discourse, so has geometry been a silent conductor in Hillier and Hanson's theory of spatial configuration. Aside to tools for topo-geometric analysis, we need theoretical accounts of the ideas we 'think with', bringing space syntax and contemporary architecture into the historical and morphological tradition. 1 Buildings are also studied using space syntax theory and tools but no systemic understanding of buildings exists across a wide range of building types. Further to this, the study of buildings has moved away from the early attempts to build an internal theory of architecture through a clear understanding of the difference between architecture and building. As such, seen from the perspective of architecture, most building studies using space syntax fall into the realm of the normative, recycling old concepts and methods of analysing.
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