P-Campos-SUMMARY-THEME-2 PDF

THEME 2 PERCEPTION, SHAPE AND GEOMETRY  ESSENTIAL CONTENTS Please, check all slides, but specially those including this sign IMPORTANT  ESSENTIAL CONTENTS IMPORTANT Summary...

THEME 2 PERCEPTION, SHAPE AND GEOMETRY  ESSENTIAL CONTENTS Please, check all slides, but specially those including this sign IMPORTANT  ESSENTIAL CONTENTS IMPORTANT Summary Page 1 Topics and contents to know: 5 senses + “6th-sense” Psychological connotations of the basic shapes 2 Types of Shape in Architecture: objective + subjective Architecural features and ideas of Louis Kahn Golden Ratio proportion: know how to generate it graphically Space in Architecture (comparison with Music) IMPORTANT ESSENTIAL CONTENTS Summary Page 2 IMPORTANT ARCHITECTURAL WORKS OF THEME 2 Topics to study of them: IDEAS + SHAPES: -Library in Stockholm (Asplund) -global idea and shape (square in pant and circle) -Pantheon of Adrian -Global idea + shapes (sphere in volumen, circle in plant and section) -Assembly in Bangladesh (Kahn) -Global shape in plan + use of simple shapes in plan and elevations -Villa Rotonda - Andrea (Palladio) -Global ideas + shape arrangement -Casa del Fascio (Terragni) --Global ideas + regular shape in plan and elevations -Orphanage in Amsterdam (Van Eyck) -Global ideas + geometrical grid in plan DEVELOPMENT OF THEME 2  NC PERCEPTION SHAPE GEOMETRY  NC BIBLIOGRAPHIC REFERENCES: “The dynamics of architectural form” Rudolph Arnheim “Experiencing Architecture” S. E. Rasmussen “Intentions in Architecture” (Christian Norberg-Schulz)  NC THE PERCEPTION OF ARCHITECTURE  NC 1.-How it is and how it is felt 1.1.-Senses 1.2.-Scales of perception 2.-How it is and how it is perceived psychollogically 2.1.-Gestalt 2.2.-Perception and motivation 2.3.-Shapes and psychollogical connotations 2.4.-Vertical and horizontal 3.-How it is and how it is recreated 3.1.-Perception and re-creation of the object 3.2.-To complete and synthesize 4.-Perception through anticipation: the Project  PERCEPTION NC DEFINITIONS The psychologists define: -Initial process of the psychological cycle. -Passive function in which the individual limits himself to the reception of impressions from outside through the senses, and with those he elaborates images. -According to Wilhelm WUNDT (German psychologist 1832-1920), it is: SUM OF BASIC ACTS (called SENSATIONS), which are produced in 2 steps: 1.-Knowledge of the elemental parties through the different sensations 2.-Unification of those knowledges in a a synthetic image  NC IMPORTANT The SENSES Sight: direct, or indirect - Gestalt Touch: more frequent than we are conscious of Hearing: understanding of space, of volume, through acoustics. Smell: unfrequent, but not non-existent Taste: very unfrequent. Sixth sense: the INTUITIVE perception (Rudolph Arnheim, “The dynamics of architectural form”, 1975) + sensations of spaces being “cold”, “warm” , “homely”, … 1.1.-How it is and how it is felt 1.1.- How it is and how it is felt Fontana di Trevi, Roma, Nicolás Salvi, 1762  NC 1.2.-SCALES OF PERCEPTION 1.-Minor fragments 30 cm – 1:1 – 1:5 2.-Major fragments 2 to 5 m – 1:5 – 1:20 3.-Mid-size complete planes (interior elevation) 5 to 30 m – 1:20 - 1:50 4.-Big-size complete planes (exterior elevation) 50 to 70 m – 1:50 - 1:200 5.-Complete building + context 100 to 500 m – 1:100 - 1:500  2.- How it is and how it is perceived psychollogically 2.1.-Gestalt – Figure-Ground Perception of figures against the background Ambiguity: 2 Faces , or 2 Vessels Gestat (in German, “shape, scheme”), from 1912 Bruce Hood (Univ.Bristol), “The irrationality of the human mind” El Mundo, 11-09-06 Human mind´s is keen to be intuitive, as to complete answers where it doesn´t find explanations 2.- How it is and how it is perceived psychollogically 2.2.-Perception and motivation 2.- How it is and how it is perceived psychollogically 2.2.-Perception and motivation THE INFLUENCE OF MOTIVATION IN PERCEPTION 2.-How it is and how it is perceived psychologically 2.3.-Shapes and psychological connotations  NC 2.3.: SYMBOLIC – PSYCHOLOGICAL connotations of SHAPES IMPORTANT -square-cube: STABILITY, CONSCIUS STRENGTH -circle and sphere: MOVEMENT, CONTINUITY -triangle and tetrahedron: UNSTEADINESS, AGRESSIVITY Étienne-Louis Boullèe (1728-1799) Newton Cenotaph, 1784 IMPORTANT Erik Gunnar ASPLUND (1895-1940) IMPORTANT Introduces Modern Architecture in Scandinavia Public Library Stockholm, 1920-27  NC IMPORTANT Simple volumes Door monumentality – Egyptian influence  NC Boullèe + Pantheon influences IMPORTANT Stairway that ascends towards light, towards knowledge  NC 2.-How it is and how it is perceived psychollogically 2.4.-Vertical and horizontal -The space of the human being is ASSYMETRICAL. The vertical is “heavier” than the other 2 axes -Architecture has the VOCATION of conquering HEIGHT  2.- How it is and how it is perceived psychollogically 2.4.-Vertical - Horizontal Seagram - Mies van der Rohe,1954-58 Robie House, Frank Lloyd Wright, 1909 3.-How it is and how it is recreated 3.1.-Perception and re-creation of the object NC A building is a three-dimensional object that has never been PERCEIVED in an INTEGRAL way by nobody: -It is a mental image, a RE-CREATION, a TRANSCENDENTAL PERCEPTION. Lorenzo Quinn Palazzo Morosini Sagredo Venice 2017 Is it an octagonal plant ? 3.-How it is and how it is recreated 3.2.-To complete and synthesize “broken” pediment  NC 4.-PERCEPTION THROUGH ANTICIPATION: THE PROJECT Antonio Gaudí “The architect is the synthetic man, who sees things before they are done”.  NC THE SHAPE IN ARCHITECTURE  NC PRELIMINARY ISSUE – 2 TYPES OF SHAPE (Christian Norberg-Schulz, “Intentions in Architecture”): 2 basic meanings, interpretations of the architectural SHAPE IMPORTANT 1.-The SHAPE concepts which describe the existing ORDER in the architectural work, describing objectively its FORMS 2.-The SHAPE “qualitative” concepts, which designate the subjective experiences of the observer of the work (Expressions such as : “heavy”, “light” shapes, “movement”, “rhythm”, etc. ) Soft-hard shapes Frank Gehry Neuer Zolhof, Dusseldorf, 1998 Heavy-light shapes Arne Jacobsen - Restaurant. Hannover, 1964 -Correct capital -Shaft too short and thick. -Consequences in terms of perception-psychology…  NC PURE SHAPES AND THEIR COMBINATION IN ARCHITECTURE THROUGH HISTORY Some examples…. The Pantheon of Adrian (117-138 d.C.),, en Roma. IMPORTANT IMPORTANT IMPORTANT  NC Étienne-Louis Boullèe (1728-1799) Newton Cenotaph, 1784 - Purity of the MONUMENTAL shapes - Megalomania in dimensions and effects - Unreal lighting, evokes divine presence  NC - The interior as an infinite firmament - Inversion of day and night  NC LOUIS I. KAHN 1901-1974 “Schools began with a man under a tree who did not know he was a teacher, sharing his realization with a few others who did not know they were students. The students aspired that their sons also listen to such a man. Spaces were erected and the first schools began”. (L. Kahn) LOUIS I. KAHN 1901-1974- Master of monumentality NC Influences: Structural Rationalism of Labrouste and Viollet Le Duc; Beaux-Arts (classicist compositions, neat geometries, axial schemes, etc); Piranesi; Composition method of Durand IMPORTANT TYPE-SHAPES, based on primary geometries: square, circle, triangle.. Platonic conception of the architectural shapes. Students residence unit Indian Institute of Management, Ahmedabad, 1963 -In the “first steps”, in which ORDER precedes and goes before design,, Kahn uses NC “typical” shape combinations: squares, circles inscribed in squares, repeated shapes, shapes organized around a courtyard... etc That´s where Kahn´s FORMALISM lies on. IMPORTANT Dominican Sister Convent, Penn, 1968 LOUIS I. KAHN 1901-1974- Master of monumentality National Assembly Building, Bangla Desh, 1962-83 IMPORTANT  IMPORTANT Assembly in Bangladesh, 1961 CENTER AND HIERARCHY Aldo Rossi (1931-1997 –Pritzker Award, 1990) - Context: “The Architecture of the City”, 1966 Cemetery of S. Cataldo, Modena 1971 Cities: must be planned for living human beings Cemeteries: must be planned for the dead ones  NC Compositions based on axes, primary geometries, but not linked to fascists connotations of the 30´s (example; Casa del Fascio, Terragni)  NC GEOMETRY AND ARCHITECTURE  NC GEOMETRY is a graphic instrument for 1.-Projection 2.-Representation Double appilcation: geometry of DESIGN, that is: a.-invention of SHAPES + b.-graphic operation for the construction and communication of those shapes Geometries in Nature… 2 snowflakes  NC GEOMETRY The universal Architecture is born out of the combination of the basic gemetrical SHAPES “Architecture is the masterly, correct and magnificent play of volumes brought together in light. Le Corbusier (1887-1965), “Towards a new Architecture”, 1927 Villa Rotonda - Andrea Palladio, 1566-1571 IMPORTANT Simple SHAPES combination  IMPORTANT References: Heran, Fil. “Ideas that shaped buildings”, MIT-Press, 2003 Interaction EXTERIOR-INTERIOR: The 4 axes of the environment merge under the central dome …. IMPORTANT … and the centrality of the dome transforms them into a vertical axis IMPORTANT Interaction INTERIOR-EXTERIOR The staircases volumes are projected towards the environment through 4 directions IMPORTANT Villa Rotonda  IMPORTANT Villa Rotonda  The totalitarian criticism to the MODERN MOVEMENT NC CRISIS of the International Style IMPORTANT Giusseppe Terragni (1904-1943) Mastework: Casa del Fascio, Como, 1932-1936 Mature rationalism ½ cube with a central courtyard. IMPORTANT FS FE FN PB P1 P2 Volume that lies directly in the ground – no PILOTIS IMPORTANT NC Slight podium, similar to Mies BCN-Pavilion 1929 No free façades The cube is no longer a mass that has to be hollowed. NC There are no horizontal , ribbon windows. There is no “epiderrmic” understanding of the construction; instead, IMPORTANT holes capable of revealing the structure of light. THREE DIMENSIONALITY. -ARCHITECTURE OF LIGHTS AND SHADOWS. IMPORTANT  -Relation INTERIOR-EXTERIOR:. IMPORTANT Vestibule as an internal extension of the plaza.+ open roof opening towards the sky  IMPORTANT Aldo Van Eyck Orphanage in Amsterdam, 1961 IMPORTANT IMPORTANT THE GOLDEN RATIO (Divine proportion) IMPORTANT NC The Golden Ratio emerges in the Greek period as a system of proportionality based on the human body proportions (1,618 = number Ø)  NC POINT, LINE, PLANE, VOLUME, SPACE Topic to be developed in depth in Architectural Composition (4th Course) NC  NC POINT, LINE, PLANE, VOLUME, SPACE What is a POINT? A non-dimensional and static ELEMENT which has a meaning: It defines a POSITION in the space. How is it generated? -As a consequence of the crossing of 2 lines -As the end of a line -As the center of an area  NC IMPORTANT How do we understand a POINT in Architecture? 1.-A virtual POINT as center of a composition 2.-A projection of a certain building whose main dimension would be only linear 3.-A building with a remarked central character 4.-An element which implies an isolated attitude  How do we understand a POINT in Architecture? 1.-A virtual POINT as center of a composition – Campidoglio Square, Michelangelo  How do we understand a POINT in Architecture? 2.-A projection of a certain building whose main dimension would be only linear (tower) Burj Khalifa Dubai Adrian Smith (SOM) How do we understand a POINT in Architecture? 3.-A building with a remarked central character (Newton Cenotaph, Étienne-Louis Boullèe )  How do we understand a POINT in Architecture? 4.-An element which implies an isolated attitude (punctual opening) – Pantheon, Rome Pantheon of Adrian (117-138 a.C.), in Roma.  NC POINT, LINE, PLANE, VOLUME, SPACE IMPORTANT From POINT to LINE: the prolongation of a point generates a LINE. Consequences/Meanings: Expresses dynamism Implies a definition of 2 sides Establishes a sequence: Repetition Dynamism – Basilica of Aránzazu, Sáenz de Oíza The LINE is expressive: NC VERTICAL: balance, gravity, earth-sun HORIZONTAL: repose, rest, horizon INCLINED: transition – but also unbalance, instability  In Architecture, a LINE is more tangible than a POINT It usually is associated with HEIGHT, but also with HORIZONTAL or INCLINED NC (Yamasaki, El Lissitsky-Horizontal Skyscraper, 1924)  NC The LINE, in a curved display Crawford Residence Montecito, CA, 1987-92 Morphosis In Architecture, what is created is a LINEAR COMPOSITION, not a mere LINE NC (Ciudad Lineal –Arturo Soria-)  NC POINT, LINE, PLANE, VOLUME, SPACE IMPORTANT The PLANE Definition: Transfer (displacement) of a LINE. 3 basic PLANES in Architecture: Horizontal 1: BASE Horizontal 2: ROOF Vertical : WALL  NC Horizontal PLAN 1: BASE a,.-Defines a new topography, a new plane Usually it is associated to a resistent material (stone, R.C. …).  NC Horizontal PLANE 1: BASE b.It can be expressive, sacred or monumental Parthenon, Athens – the podium, plinth It has to do with the walking of the human being Parthenon, Athens – the podium, plinth - marble – 447-432 b.C. Iktinos and Kallikrates - sculptor: Phidias  NC Horizontal PLANE 1: BASE c.-WAVING GROUND, TERRAIN … free walking, place of continuous experiences, Thin or thick BASE: projects of MIES Farnsworth, 1951- Säynatsalo, 1952  NC Horizontal PLANE 2: ROOF TRADITIONAL VANGUARD MOVEMENTS AND WRIGHT EXPRESSIVE ELEMENT / PLASTIC / FUNCTIONAL Robie, 1909 - Otaniemi, 1949  NC IMPORTANT Vertical PLANE: WALL It has multiple versions: Perforated Wall Channelizing Wall Wall which interacts with environment (urban-natural) Wall which recreates the environment (urban-natural) Wall: transparency and mobility Wall: spatial content  Perforated Wall Church of the “Consolación” Fisac – Vitoria 1957 Channelizing Wall Country House in brick Mies, 1924 Neo-plastic period 1923-38 Channelizing Wall Ugalde House Coderch, 1951  Wall which interacts with environment (URBAN-natural) Basílica Vicenza Palladio, 1549-1614 Altes Museum, Berlín Schinkel, 1830  Wall which interacts with environment (urban-NATURAL) Ville Savoie Le Corbusier – Poissy 1929  Wall which interacts with environment (urban-NATURAL) Ville Savoie Le Corbusier – Poissy 1929 Wall which recreates the environment (URBAN- NC natural) “Echoes” of the compositive typologies of the façades By Juan de Herrera Left : Casa de los Infantes y la Reina” (Villanueva, 1785-97) Right: 1st and 2nd J.Herrera-Fco.Mora, between 1587-96) Wall that recreates the environment (urban-NATURAL) Villa Mairea Alvar Aalto – 1939 Finland Pavilion Expo NY Alvar Aalto – 1939 Swimming pool in Leça de Palmeira Alvaro Siza, 1961-66 Wall: Transparency and Mobility Schröder House, Rietveld, Utrecht, 1923 BCN Pavilion Mies, 1929 Wall: spatial content Stock Exchange of Amsterdam Berlage, 1896-1903 PRE-RATIONALISM  NC POINT, LINE, PLANE, VOLUME, SPACE IMPORTANT VOLUME Sum of the precedent elements. It constitutes one of the proper ambits of Architecture, although not exclusive (sculpture) The VOID Volume and the FULL Volume. Operations of insertion (ASSEMBLY) and of hollowing out (SCULPTOR) Plaza Mayor Madrid: Origin: 15th c. - Remodeled, 1561, J.Herrera - Completed 1619, Gómez de Mora  NC POINT, LINE, PLANE, VOLUME, SPACE Space does not exist physically, but the energy which occupies it does exist  Navarro Baldeweg: evoking Soane Architecture: “resonance box” IMPORTANT Music ≠ instruments Architecture ≠ buildings, it is the LIFE, the SPACE inside them Soane Salamanca  NC Architecture as a pleasure for the spirit “Architecture is the art which so disposes and adorns the edifices raised by man, for whatsoever uses,that the sight of them may contribute to his mental health, power, and pleasure. It is necessary, in the outset of all inquiry, to distinguish carefully between Architecture and building”. (John RUSKIN - The Seven Lamps of Architecture 1849).