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thinking tectonics
Cover Image Vernacular tectonic mechanism of protection by tightly stacking bundles of straws forming the sloped roof structure 2
THINKING TECTONICS
Architecture is understood as being the responsive result to the requirements of its surroundings: the environment and the specific social conditions shape architecture in a particular manner. The knowledge gained in this exploration helps to develop a tectonic way of thinking as an awareness to take the appropriate construction decisions as an answer to specific requirements, with the ultimate objective of achieving an architecture which is an alliance between design and construction.
Anshul Rathore
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Hochschule Luzern Lucerne University of Applied Science and Arts Engineering and Architecture BA Architecture - Theory Module HS17 Core Module Tectonics Student: Anshul Rathore Lecturer: Natalie Plagaro Cowee, dipl. Architect ETSAM, SIA, Herrliberg ZH, Switzerland Assistant: Florian Schweizer dipl. Arch ETH, Bern, Switzerland 4
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I.
About Tectonics
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II.
Vernacular Tectonic Mechanisms II.01 Tectonics of Support II.02 Tectonics of Balance II.03 Tectonics of Guidance II.04 Tectonics of Movement II.05 Tectonics of Protection II.06 Tectonics of Protection II.07 Tectonics of Safety II.08 Tectonics of Safety II.09 Tectonics of Support II.10 Tectonics of Support
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III.
Tectonic Mechanisms of the 20th century
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IV.
The Tectonic Detail
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List of figures
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Bibliography
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I. About Tectonics
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ONE abstract image, illustrating your definition of tectonics, without being directly rooted in architecture. i.e. Painting, sculpture, landscape, music, film-still, photography, crafts, nature, etc. Black and white, high-quality image. THEN DELETE THIS TEXT. (The caption of the image is at the bottom of the following page.)
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I. About Tectonics
Tectonics is an indication of not just skillful knowledge of materials but also of the creative process of producing, manufacturing and processing the same material to imbue it with meaning that reaches beyond the mundane and into the artistic realm.
Pursuing this art creates an appearance resonating with the sensibilities and the meaningness of the person that perceives it. With this rises the question of how the materialistic characteristics can develop immaterial expressions along with serving its basic functionality.
Accurate descriptions of functionalist sensibilities - such that the human is understood as a component of the machine are aptly given by Le Corbusier(1923) with the notion that a house is “a machine for living in” and that “one can be proud of having a house as serviceable as a typewriter”(cited in Etchells, 2014, p.10, p.241).
Figure 1 Spinning top, a toy designed to spin rapidly on the ground,the motion of which causes it to remain precisely balanced on its tip because of its rotational inertia which is enhanced due to its shape and form, thus both its structure and motion facilitates its functionality. 9
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I. About Tectonics
But along with functionality one has to consider the perceptions of people towards the same material. Jonathan Hill (2006) argued that “to accommodate evolving conceptions of the individual and society, architecture must engage the material and the immaterial, the static and the fluid, the solid and the porous” (cited in Etchells, 2014, p.135).
Architecture accommodate and build these perceptions by giving importance to the detail of putting the materials together. Peter Zumthor seems to argue along similar lines when saying that “details express what the basic idea of the design requires at the relevant point in the object; belonging or separation, tension or lightness, friction, solidity, fragility” (cited in Ford, 2011, p.177).
Figure 02 Spinning top, the grooves on its surface are incorporated intentionally so that rope could be binded to the surface and would be set in motion by aid of this rope coiled around its axis which, when pulled quickly causes a rapid unwinding that would set the top in motion. 11
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II. Vernacular Tectonic Mechanisms
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II. Vernacular Tectonic Mechanisms
Tectonics of Support Tension
The image depicts a traditional roofing system which consists of a rafter, a strut, a tie, a purlin and a console connected by a hanger. The elements transfer load through tension and compression within the structure. The ends of the elements have been groomed and they give rise to geometric patterns hanging down from the ceiling. This is an act of beautifying the elements. Structurally, the angle of rafter prevents water or snow accumulation.
Figure 3 Roofing of house supported by rafters and tension ties 15
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II. Vernacular Tectonic Mechanisms
Tectonics of Balance Stacking
The plates which are located near the ground have been used to create a systematic distinction between the log cabin and lower frame of structure. The gap also enhances the ventilation between upper construction and foundation of the building preventing moisture to travel upward. The stone-work gives a rugged appearance to the overall structure of house. Placing of the stone between the rudimentary woodwork has a jarring, surprising effect.
Figure 4 Stones used to carry the vertical load and creating a ventilation gap 17
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II. Vernacular Tectonic Mechanisms
Tectonics of Guidance Consoling
The box gutters are recessed troughs set in the roof plane near the eaves which is used to collect the water from the roofs. These wooden gutters are supprted and held by the branches which are connected with the rafters supporting the roof. The roof gives a natural appearance in the landscape of vernacular architecture. Natural forms have been used as ornamentation here.
Figure 5 Rafters along with branches consoling the water gutter 19
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II. Vernacular Tectonic Mechanisms
Tectonics of Movement Hinging
The construction consists of two different materials, stone and wood. There’s a harmonious setting between the two materials which consists of two joineries. The first joinery of nail speaks of technical construction and is linked to opening and closing of the door. The second joinery of nail is a decorative construction and can be found on the entire door running horizontally. The nails have been craftly honed to decorate the door.
Figure 6 Joinery of door to the Wooden frame facilitating movement 21
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II. Vernacular Tectonic Mechanisms
Tectonics of Protection Interlocking
The traditional wooden logs have been used without any ornamentation or finishing. They were easily available in the forests, and were procured directly from trees. It reflects a strong expression of primitive forces. Its appearance is rough, yet it seems to be very enduring. The wooden logs found near the ground are stacked on top of each other, and on the corners they are interlocked. Through the butt and pass joinery,the logs are interlocked with each other and held together.
Figure 7 Interlocking of wooden logs at the corner 23
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II. Vernacular Tectonic Mechanisms
Tectonics of Protection Stacking
The closely held bundles of straws on the roof do not allow water or melted snow to seep, and protects the interiors from harsh climatic conditions prevailing. The straws are first held together in separate group of bundles for extra stability and then stacked together and densely packed. The close stacking of the straws enhances the isolation of the roof as well as increases their strength against vertical load. The roof looks very fluffy and seems to have a uniform compisition throughout the structure.
Figure 8 Tightly stacked bundles of straws forming the sloped roof structure 25
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II. Vernacular Tectonic Mechanisms
Tectonics of Safety Compression
The typical arrangement of stone slabs and earth can be found in the roofs of typical storehouse units, where grains and stock were stored. The stone slab arch provides structural support and skin to the roof, on top of which is a stone slab which contributes to water proofing of the interior. The earth on the top provides isolation. The partially underground construction ensures a stable temperature during different seasons which is considered appropriate for storing and preserving grains.The structure gives very primitive vibes, with cladding of vegetation over it.
Figure 9 Underground construction for storage of graineries and goods to provide stable temperature 27
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II. Vernacular Tectonic Mechanisms
Tectonics of Safety Stacking
This wall is made by stacking logs on top of each other. The forces of the roof beam seem to ensure compression in exactly the right place, minimising the warp occuring from the wood drying and getting wet. The arrangement of wooden logs can be seen in the roof of structure. They keep the roof upright by transferring loads from one point to the other. The logs give an impression of continuity and homogeneity on facade. The appearance might be misleading, since the load is transferred from point to point instead of continous vertical transfer. It can be assumed that the stacking has been with an aim to insulate the interiors, and not just provide minimal structural strength.
Figure 10 Wooden logs stacked together to form outer skin of the dwellings and to enhance the strength 29
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II. Vernacular Tectonic Mechanisms
Tectonics of Support Plugging
The arrangement of connection of a tie with a rafter using a wooden plug can be seen in the roofing system of the structure. This tie connects to the rafters which carry the load of the balcony. This is possible if one cuts the head of the beam too close to the tie. Moreover, the logs have been placed at a sloping angle to facilitate flow of water. The weathering of logs is evident due to its exposure to harsh climatic conditions. Compared with other tie members, this structure is less sophisticated in its appearance and has lesser decorative elements on it.
Figure 11 The plugging of two lateral ties ,one connecting with the rafter 31
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II. Vernacular Tectonic Mechanisms
Tectonics of Support Clamping
The two wooden planks in horizontal plane intersect with a wooden log in vertical plane. The three logs are clamped together through small wooden bars. The wooden bars in horizontal plane which join the three wooden logs together, are held by smaller bars in vertical plane. The bars have been carved out beautifully, and give out a pleasing aesthetic vibes.
Figure 12 The wooden logs clamped together at corner 33
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III. Tectonic Mechanisms of the 20th century
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III. Tectonics and Structure
Louis I Kahn, also known as ‘Architect of Instituition’ was famous for his crude, direct, archaic and solid style. He used to believe in economical use of material and had fascination with the hollow structures. The distinct form of the Kimbell Museum's cycloid barrel vaults are rimmed with narrow plexiglass skylights, providing room for natural light to penetrate into the spaces. To diffuse this light, pierced-aluminum reflectors shaped like wings hang below, illuminating the smooth surfaces of the concrete vault while providing elegant and enchanting light conditions for the works of art. Kahn used the element of natural light as the main focus of the design, and created elegant spaces that were perfectly suited for the art that it houses.
Figure 13 Kimbell Museum's cycloid barrel vaults allowing natural light to penetrate into the spaces 37
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III: Tectonics and Material
Louis Kahn stated that “Architecture appears for the first time when the sunlight hits a wall. The sunlight did not know what it was before it hit a wall”(cited in Meiss, 2014, p.121). Kahn incorporated local material like brick and large geometrical facade extractions as a homage to Indian vernacular architecture. The large facade omissions are abstracted patterns found within the Indian culture that were positioned to act as light wells and a natural cooling system protecting the interior from India’s harsh desert climate. Even though the porous, geometric facade acts as filter for sunlight and ventilation, the porosity allowed for the creation of new spaces of gathering for the students and faculty to come together.
Figure 14 Sunlight entering the dark corridors of IIM Ahmedabad creating an interplay of light and shadow 39
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III: Tectonics and Material
For the Salk Institute Kahn proceeded with exposed concrete finishes for columns and walls. Since Kahn wanted “the marks of the tool” left on the wall and columns he intuitively created ridge by bevelded plywood panels of formwork. Since this will show up as a joint in any case, Kahn chose to accentuate it rather than attempting to hide it. Louis I Kahn(1954) also argued that “ornament would evolve out of our love of the perfection of constrution and we would develop new methods of construction”(cited in Ford, 1996, p.319). Also to Kahn it was the ideal building in that the circulation of services and the circulation of people took place completely within hollows of the structure and in that there was an exact correlation between architectural space and structural divisions.
Figure 15 View of the exterior corridor having trace of formwork on columns 41
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III: Tectonics and Structure
Kahn’s motive was hardly to minimize the cost, nor to minimize the material per se, but to explain visually the performance of the structure which in this building he accomplished by carving away all that is structurally unnecessary In the corner where there is minimum structural load, he reduced the height of the beam and also provided Vierendeel trusses. The system allowed a cavity in which structure, ducts, pipes and lights are intertwined. Kahn was fascinated by the idea of hollowing out columns, beams, and other structural elements to house utilities.
Figure 16 Corner window at entry of A.N. Richards Medical Research Building 43
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III: Tectonics and Structure
Hendrik Petrus Berlage is the most renowned figure in modern Dutch architecture. Born in Amsterdam in 1856, in his early life he studied at the Zurich Institute of Technology, where he came under the lasting influence of Gottfried Semper (Polano, 2002). In 1881, he returned to Holland after travelling extensively around Europe and began his career alongside Theodor Sanders at the prolific architectural firm Charles L. Thompson and associates. Berlage’s designs had always been carried out with his ideology on purpose and community. As evident in a lot of his work style, Berlage continually strived throughout his career to create spaces that ensured a cultural and political purpose. As he referred to it as practical aesthetics, his works represented at its heart a sense of community, a fusion of function and spirit (Stewart, 2017). Berlage decided to design the new stock exchange building in such a way that it could serve as a grand communal home, a public palace. He therefore built a sort of symbolic city hall, a ‘public palace’ that could also serve as a stock exchange.
Figure 17 Hall of the stock exchange building in Amsterdam (NL) 45
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III: Tectonics and Structure
The most striking depiction of tectonic and structure in the writing of Berlage was undeniably present in his work Thoughts on Style. “Looking at the dwellings themselves, one sees that the much-lauded speculative development— mass production of the worst sort—has created a type in which little remains of what one usually calls architecture”. “This same mass production has destroyed the entire periphery of our towns and devastated the delightful transition from town to country by brutally extending the streets directly into the surrounding countryside.” “Although some of the buildings show signs of diligence and talent, the dominant force once again is the most ghastly mass production, which lacks any sense of unity”. His feelings were straight up clear. The existence of mass production in architecture, according to Berlage, was the cause of a decaying value of architecture, a destroyed periphery of the towns and eventually a lack of a sense of unity. The way a village, town or a country is structured in itself speaks a lot for how the tectonic stands.
Figure 18 Detail of Joints and Construction 47
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III: Tectonics and Structure
During the period of Renaissance, architecture was already the weakest of the arts, as compared with painting and sculptures, which developed their own lines. The cause of the weakness of Renaissance architecture was that it took Rome as an example, and not Greece. Berlage argues that Roman architecture showed weakness as it did not apply the pilaster and the column in a purely constructive manner, as the Greeks did, but put them, cut through entirely or halfway, against the wall by the way of ornamentation, without the least endeavor to find an aesthetical solution for the ornament of the column head. Berlage viewed the Renaissance repudiation of the principles of construction as having principally caused architecture to fall into a decayed art. As per his vigorous studying of the build structures in various surrounding, he notably observed that although most Renaissance work are beautiful, they all lack this one aspect that one desires in a work of art of the highest sense, which is the Inexpressible or the unutterable.
Figure 19 The Holland House, London (GB) 49
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III: Tectonics and Structure
It is believed that Berlage’s design for Holland House was inspired by the work of Louis Sullivan after a trip to the States in 1911. The building is believed to be the first example of a steel frame structure in Europe. It is clad in glazed bricks, which were made in Delft and transported over on the client’s own ships. The creation of the piazza at the base of the Gherkin gave an opportunity, for the first time, for the building to be seen frontally, and perhaps to be more widely admired. On the south leg of Bury Street, was a secondary entrance. On this corner, a stylised relief of a ship steaming forward seems to symbolise the role of shipping companies at the time being in the forefront of design and style, much like this building.
Figure 20 A Detail on the Facade of the Holland House 51
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IV. The Tectonic Detail
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IV: The Tectonic Detail
At facade the combination of vertical columns and horizontal bands of aluminum panels coordinates together so not only the vertical and not just the horizontal are emphasized in the design. Also the rhythm and order of columns for the pathway connecting street and the city center is similar to the order of the arrangement of columns for the residential block, creating a harmony. The concept of waffle slab is used, where these slabs made of concrete not only adds to the efficient use of concrete as a material but also incorporates the electrical and other service lines in the cavity. On the two sides of the building mechanically operated bifold doors are provided which not only provides shade and privacy but also acts as an element to direct visitors towards the Horw centre. The market hall is flanged with columns on either side and has a skylight at centre of the waffle slab roof. This allows natural light to reach to the centre of the market hall which is provided with concrete slab for seating and thus makes it an interesting space to sit and relax.
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IV: The Tectonic Detail
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LIST OF FIGURES Figure 01, 02 Rathore, Anshul : Spinning top. Luzern,2017 Figure 03 - 12 Rathore, Anshul : Vernacular Tectonic Mechanisms at the Freilichtmuseum Ballenberg. Hofstetten bei Brienz, 2017. Figure 13 Stvan, J.(18 October, 2011), An interior detail of Louis I. Kahn's Kimbell Art Museum, Fort Worth, TX. Retrieved (21 Jan 2018) from <https://www.flickr.com/photos/diorama_sky/6261633951/in/ gallery-quantum_h-72157630447692218/> Figure 14 AD Editorial Team. "Louis Kahn's Indian Institute of Management in Ahmedabad Photographed by Laurian Ghinitoiu", 20 Feb 2017. ArchDaily. Retrieved (21 Jan 2018) from <https://www.archdaily.com/ 805720/louis-kahns-indian-institute-of-management-in-ahmadabad-photographed-by-laurian-ghinitoiu/> Figure 15 Ford, Edward R.: The details of modern architecture, volume 2, The MIT Press, Cambridge, MA, 1998, pp. 316 Figure 16 Ford, Edward R.: The details of modern architecture, volume 2, The MIT Press, Cambridge, MA, 1998, pp. 314 Figure 17: Polano, Sergio, Fanelli, Giovanni, Heer, Jan, Rossem, Vincent. (2002). Hendrik Petrus Berlage. Milano: Electa architecture., 2002, Page 13. Figure 18 Polano, Sergio, Fanelli, Giovanni, Heer, Jan, Rossem, Vincent. (2002). Hendrik Petrus Berlage. Milano: Electa architecture., 2002, Page 21. Figure 19 Polano, Sergio, Fanelli, Giovanni, Heer, Jan, Rossem, Vincent. (2002). Hendrik Petrus Berlage. Milano: Electa architecture., 2002, Page 76. Figure 20 Polano, Sergio, Fanelli, Giovanni, Heer, Jan, Rossem, Vincent. (2002). Hendrik Petrus Berlage. Milano: Electa architecture., 2002, Page 78.
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BIBLIOGRAPHY Etchells, F. (2014). Towards a new architecture. Connecticut: Martino Publishing. Ford, E. R. (2011). The architectural detail. New York: Princeton Architectural Press. Ford, E. R. (1996). The details of modern architecture (Vol. 2). Cambridge, MA: The MIT Press. Meiss, P. V. (2014). Elements of architecture: from form to place. Routledge. Polano, Sergio, Fanelli, Giovanni, Heer, Jan, Rossem, Vincent. (2002). Hendrik Petrus Berlage. Milano: Electa architecture.
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