Architectural Expression

A R C H I T E C T U R A L

EXPRESSION

7QQ1M0 Ralph Brodruck, Renato Kindt Group 2

Jeppe Koelewijn, Lucas Vreeswijk, Stijn Swolfs, Malak Mehta, Anke Thijssen, Joost Jansen, Jade van Pelt

7QQ1M0 | Architectural expression |Assignment part 2

Eindhoven University of Technology Faculty of the Built Environment 7QQ1M0 | Architectural expression Assignment part 2 Renato Kindt & Ralph Brodruck Jeppe Koelewijn Lucas Vreeswijk Stijn Swolfs Malak Mehta Anke Thijssen Joost Jansen Jade van Pelt

0905088 1272438 0886974 1321749 1380427 1253166 0857810

CONTENT Materials p. 4 Artefacts week 1 p. 6

Artefacts week 2 p. 8 Artefacts week 3

Artefact 3.1 p. 10 Artefact 3.2 p. 12

Final artefact p. 14

The making p. 16 Expression p. 18

Individual reflections Jeppe Koelewijn p. 22

Jade van Pelt p. 24 Stijn Swolfs p. 26 Malak Mehta p. 28 Joost Jansen p. 30

Anke Thijssen p. 32 Lucas Vreeswijk p. 34

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7QQ1M0 | Architectural expression |Assignment part 2

MATERIALS For assignment part 2 we received two different types of materials: insulation blanket and corrugated cardboard. Insulation blanket is a result of recycled textile, in this case jeans, that are compressed together and form a blanket. Corrugated cardboard is made out of layers of paper combined with layers of corrugated cardboard. The materials each share properties that are very distinct from each other. The following properties that are interesting to address regarding the two materials are: stability, density, firmness/strength, flexibility and elasticity. The properties again have connections with each other that help to describe the materials. The insulation acts stable when it is compressed and rolled up. The stability is dependent on the surface in relation to 4

its density. The larger the surface area that is connected to the ground, the more stable. The density of the blanket is lower compared to the cardboard, therefore the cardboard acts more stable.

The density also determines the strength of the material. It takes more strength to rip of the cardboard then the blanket. However it is important to take into account the orientation. The corrugated cardboard is built up in a direction where it is less firm when parallel to that direction and more firm when it is perpendicular to the direction. The blanket on the other hand does not have this property and is equally firm from all directions. Moreover, the blanket can be considered more flexible than the cardboard, one because the blanket does not differ on direc-

tion, and two because of its lower density. It is important to mention that the blanket is a result from recycled textile, which means that the material on itself was already made flexible in the earlier served purpose. The cardboard gets more flexible as it gets reduced in layers. It becomes more elastic. But so does the blanket. Though when the blanket gets skimmed, it loses its density even more, which can result in pieces falling apart. These material properties such as these are characteristics we took into account during the experimenting process.

Recycled textile insulation 1

Cardboard 2

1. VRK-ISOLATIE-METISSE-RECYCLED-TEXTILE-INSULATION-PLA1100-6 - Material District (October 9, 2017).

Retrieved from https://materialdistrict.com/material/metisse-recycled-textile-insulation/vrk-isolatie-metisse-recycled-textile-insulation-pla1100-6/. (June 28, 2019) 2. Bright brown carton surface texture wrinkled and after use 4K 3840X2160 UHD footage - Paperboard made - iStock. Retrieved from https://www.istockphoto.com/il/videos/corrugated-cardboard?offlinecontent=include&assettype=film&sort=mostpopular&phrase=corrugated%20cardboard. (June 28, 2019)

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7QQ1M0 | Architectural expression |Assignment part 2

ARTIFACTS WEEK 1

Research by experiment In the first week we started experimenting with materials. During this process of experimenting we came across various types of assembling these two materials together. The manner of assembly of the materials resulted in different types of expressions. To get an overview of the artifacts that were created, we arranged the artifacts that had a similar expression together. This resulted in four different themes. The pictures display each theme. The top left picture shows the artifacts where the textile insulation is the connecting factor. The textile insulation holds the cardboard together or in place.

The top right artifacts displays the other way around, where the cardboard holds together the textile insulation. What is different to 6

the first theme is that it does not connect the insulation. The textile insulation and the cardboard act as separate entities though the cardboard embodies the textile insulation. The bottom left artifacts show the cardboard as the connection mechanism. The cardboard is pierced through the textile insulation. The bottom right artifacts display the expression where the cardboard lifts the textile insulation. In some cases of this expression the cardboard and the insulation act again as different entities like the artifacts on the top right.

Experimenting with the materials resulted in narrowing down the themes to three themes that we used to continue experimenting.

The themes are the textile insulation taking the shape of the card-

board, The cardboard holding the textile insulation together and the recycled textile insulation holds the cardboard together.

7QQ1M0 | Architectural expression |Assignment part 2

ARTIFACTS WEEK 2

Research by experiment In the second week we chose three strong themes that we found from the first week of experimenting.

We divided our group in 3 smaller groups and each group representing one theme produced three artefacts. The three themes are: the textile insulation taking the shape of the cardboard (top three images),The cardboard holds the textile insulation (middle three images) and where the recycled textile insulation holds the cardboard together (bottom three images).

The first theme displays itself the best in the first image on the top row. The textile takes the shape of the cut out cardboard almost seamless. It expresses the flexibility of the textile and its ability to adapt. The second theme shows itself most evident in the second 8

image. The cardboard shows in a clear way that it is connecting the textile pieces. Its flexibility is resulted from the thin cardboard layers that forms the chain. However, the third image might look out of place. It belongs to the same theme. The artefact shows only the textile exterior. However inside the artefact, a stiff cardboard piece has been implemented that holds the textile insulation together. The impression that it creates is that the artefact seems like it is able to bend easily because of its exterior. In fact it is not, because of the cardboard inside. The third theme shows itself best in the first picture. Interesting is how the textile is able to stand up straight.

The cardboard does seem to help balance out the artefact, and adds

on weight so it is able to stand up straight. Because of the roughness of the textile insulation, the cardboard does not slides downwards.

7QQ1M0 | Architectural expression |Assignment part 2

ARTIFACTS WEEK 3.1

Research by experiment In the third week we built two larger artefacts. We wanted to continue with the expression where the insulation blanket takes the shape of the cardboard. The images top two images show the underlying cardboard. A strip of cardboard units that each are ripped arbitrarily. A contrast to the carefully cut out strip that holds the units together, to create a precise strip of cardboard units. The blanket was then laid down on top of this. And as shown in the middle two images, it is visible that the cardboard takes the pattern of the ripped off units. The flexibility of the insulation is expressed evident in this artifcact. The cardboard representing the dominant material which the blanket adapts to. The bottom two images show the same idea 10

but differently expressed. A longer piece of blanket is used to lay down on top, which gives a totally different expression. The blanket in this expression is more present than the carboard. The cardboard in this expression seems to serve only as a separation factor of the blanket.

The way the blanket is laid down is very decisive on the expression of the artifact. The middle two images show a more natural expression compared to the bottom two images because the blanket is laid down without any pushing or pressure, which makes the insulation material speak more for its own

7QQ1M0 | Architectural expression |Assignment part 2

ARTIFACTS WEEK 3.2

Research by experiment The second artifact shows the scope in which the cardboard connects the textile insulation together. Interesting about the expression is that the the way it is made is not visible. To imply the unity of one piece, we trimmed the insulation.

The textile insulation is visible only.

It has different ways of expressing itself, stiff and flexibile. This difference in expression is resulted from the cardboard strip inside that strings the pieces of insulation. The cardboard strip works stiff when it is perpendicular to the surface. The strip is flexible when it is parallel to the surface. this gives different expressions of the artifact just by slight change of direction.

The artifact therefore displays the cardboard, even though not visible, in a very clear way because of 12

its two distinct expressions. Compared to the previous artifact, it does not evidently show the way it is made. However the way the artifact expresses itself provides information on how it is made.

CHOSEN ARTIFACT

Eventually we chose to further work on the principles shown in week 3.1: the insulation blanket following the cardboard form. The first challenge will be to extend this concept into a more three-dimensional form. In the final artefact it is now key to find solutions in connecting the insulation blanket to itself to extend it reach and transform it from a linear to a more multi-dimensional blanket.

The next challenge is creating a multidimensional object of cardboard to cover up with the blanket. The blanket will follow the shape of the form. As in the previous model, the cardboard form becomes of less dominance in appearing.

These both challenges combined will lead us to a final artefact with a unique artefact. The cardboard will become leading in shape but appearance, creating an equal relation between both materials in their joint expression.

7QQ1M0 | Architectural expression |Assignment part 2

FINAL ARTIFACT THE MAKING

As explained earlier the concept of our final artefact is to let the insulation blanket follow the cardboard form. In this model we tried to create a random three-dimensional form, unlike the linear two-dimensional form of its predecessor.

To create a cardboard form to be the base of the artefact, interlocking cardboard sheets were used. We started by drawing a random form on the sheet of cardboard. Then transformed this sheet various times and places these in parallel to each other. Same was done with the perpendicular sheets, and in the end all sheets were interlocked.

Next step is to cover up the model by draping pieces of insulation blanket on it. To connect these pieces, we used a connection which 16

we named a cardboard stitch. This H-form connection connects two pieces of fabric together, by folding the fabric and sliding it in the openings. The openings are narrow/ wide enough to precisely clamp the fabric in between and create a slightly fixed joint between two blankets. This creates a little ripple in the surface of the blankets.

The insulation blanket was cut into smaller pieces to fit the model, creating a patchwork of blankets.

The pieces were custom fitted and sometimes replaced by different shapes to fit and cover the cardboard form. This technique of fitting the pieces, dissolves the linear character it was given by its producer. The insulation material itself has no direction, but it was given a

linear direction by the production.

Although it is not a continuous material anymore after cutting, the stitches create and ripples create a new consistent surface. The connection of both materials creates a new surface with its own unique expression, taking the form of the cardboard skeleton. This patchwork surface could continue around and underneath the cardboard object, but it is chosen not to do so. The patchwork stops in a continuous line, just above the ground floor. This gives the observer a hint of what is underneath, but still leaving the observer disoriented about what it is observing.

7QQ1M0 | Architectural expression |Assignment part 2

FINAL ARTIFACT EXPERIMENT

The final step taken in our research is to experiment more with our draping principle. The surface which was created on our final artefact had the ability to be formed by an object and at the same time concealing this object. Even when the object is still partly observed it still disorients the observer. This was already achieved in the final cardboard artefact, but can be shown by more recognizable objects as well.

At last a blanket was made of various random pieces of insulation fabric, some cut to size and some were spare pieces that were left over. The connections are just strong enough to be able to carry this blanket and drape it onto a random existing object. The first 18

object was a concrete block on the corner of the road. The blanket was draped over it and was shaped in the same oval form as the block, but also covers over it surrounding underground. The block is still partly shown from one side, showing the observer a stony mass underneath the form. The blanket takes over the situation and creates its own reality. The detailed photo could be taken of any concrete object, and shows that only the context of the location gives the block its definition. The block and the blanket merge together.

The same was done by a bike placed on the same road. The form of a single bike is to thin and angled, what made the patchwork fall apart. Nevertheless, it became

draped by the pieces, just enough to partly hide it. Although you know can recognize the bike, it is not completely sure anymore what is the front and back. Only by reasoning you can be able to deduct this, but in essence it stays concealed.

These two objects show two opposing ways of interpretation of the insulations surface. One the object is partly concealed and merges with its new surface, and the other is more a covering up. Both outcomes disorient the observer and give new sights on an everyday object.

FINAL ARTIFACT

The various artefacts that were built show different settings of the same principles that we tried to achieve. The expression of the material was used to show how existing and non-existing forms can be partly concealed and leave the observer disoriented. The context and the surroundings of the object are of great importance to identify the object. Take away the context and the character of the object already changes. In our models the insulation blanket did this by concealing the object and/or by merging with the object. The continuous surface, created by the patchwork blanket with its stitches and ripples, created a uniform cover that changed the appearance of any object that it was connected to. the material that was a combination fragileness and massive appearance had a certain passive dominance over the covered object.

7QQ1M0 | Architectural expression |Assignment part 2

INDIVIDUAL REFLECTION Jeppe Koelewijn

During the first part of this course, I tried to recreate the expression of a certain building in the built environment, using just waxpaper.

The final artefact was the result of a thorough analysis on expressing massiveness and a certain stacking of layers, while still being covered by one skin.

culture: the poetics of construction in nineteenth and twentieh century architecture Frampton adresses Eduard Seklers definition on tectonics. In our experiment with the last artefact, we were able to confirm Seklers’ qoute: “a given

expresses something different.

The concrete block and the bike weren’t recognizable as such, and you needed a context to know what it was. For the cardboard structure both materials worked together to form a coherent piece. It was still covering someting, but it became a coherent artefact.

In the text by Krauss it becomes clear that we make assumptions based on knowledge and our experience on different characteristics. The second part of this course helped to make something without assumptions. Since we were not given any examples of what to make, we just had to use the characteristics of the materials we were given. This resulted in experimenting with the materials, see what they would express in different combinations.

saw that the cloth we made of the insulation, took different shapes and expressions.

This is a nice way to compare the artefacts from part one and two.

Although in part two we used two materials, rather than one, it became a coherent artefact. The structure gave the cloth a certain massiveness, where in the first part, the skin wrapped around the structure gave it’s massiveness.

We soon arrived at the cardboard material functioning as a structure that would give form to the insulation material when laid upon the structure. In Studies in tectonic 22

expression may be at variance with either the order of the structure or the method of construction.” We

Another interesting thing Sekler adresses is the fact that when designed together, not seperate, a certain eurythmy of parts and an articulation of joints would appear. In our experiment, there is a difference as well. When we placed the cloth of insulation over the concrete block and the bike, we just made a random cloth. When we made the cloth for the cardboard structure, we specifically looked at the shapes of this structure, and followed its curves. All three covered something, but the cloth covering the cardboard structure

The expression of covering was different as well. Where in the second part the structure was still visible, the structure became a unity in the artefact of the first part. This has something to do with the fact that the cloth covered only part of the structure, still showing the structure, and sort of hovering above it.

Krauss, Rosalind E. (1977). Passages in Modern Sculpture. Cambridge, Massachusetts: The MIT Press.

Frampton, K., & Cava, J. (1995). Studies in tectonic culture : the poetics of construction in nineteenth and twentieth century architecture. Chicago (Ill.): Graham foundation for advanced studies in the fine arts. p. 20

7QQ1M0 | Architectural expression |Assignment part 2

INDIVIDUAL REFLECTION Jade van Pelt

In the first part the series of artifacts were reflected on by use of Krauss. In this text it came forward that knowledge and prior understanding reflects the perception on things. The coal bunker on which we focused the first part of the course is something considered heavy, massive and hollow.

Assumptions that we make that are based on knowledge and recognition from earlier experience.

When taking a closer look at the characteristics and elements of the coal bunker, you will see that these properties of massiveness and heaviness are expressed clearly.

The expression was executed with wax paper. The coal bunker’s properties were expressed by making use of the wax paper properties.

For the second part of the assignment, the reflection on the final artefact is done by referring to Frampton’s Studies in Tectonic Culture: The Poetics of Construction in Nineteenth and Twentieth Century Architecture, introduction Reflections on the scope of the tec24

tonic. Frampton addresses tectonic throughout history of contemporary architecture. Tetonic, together with Typos and Topos are the three converging vectors. Frampton claims that the built invariably comes into existence out of the constantly interplay of these three.

The tectonic is addressed mostly as the structure or the construction of the built. The expression is a result of the structure and its construction. The structural expression displays itself in the type of material used. The construction displays itself in the way of making (joints and connections). Eduard Sekler states that: “a given expression may be at variance with either the order of the structure or the method of construction.” This statement I will use for the final artifact.

The concept of the final artifact is to express one material taking shape of the other material. In this final artifact, the blanket takes shape of the cardboard form. The method of construction for the

cardboard base is interlocking cardboard sheets. Then the textile insulation was laid upon the sculptural base. To enhance the textile insulation’s flexibility, the use of cardboard ‘stitches’ were created.

The H-cardboard shapes hold the folded insulation blanket. The expression of the adapted insulation blanket is determined. Referring back to Sekler’s statement we can say that the blanket would adapt differently if the base would be different. Its expression will vary because of change of construction. looking at the image on the bottom it is visible that the blanket has taken a different shape from its underlying ‘structure’. The expression is clearly distinct from image above. The varying of the structure results in different expressions.

1. Reflections on the scope of the tectonic. Frampton, K. ,edited by Cava, J. (1995) Studies in Tectonic Culture: The Poetics of Construction in Nineteenth and Twentieth Century Architecture.

INDIVIDUAL REFLECTION Stijn Swolfs

In the booklet of the first exercise I explained the communication problem that could arise in architecture due to the use of metaphors to provide buildings with meaning. I argued that we must look at architecture in a tectonic perspective.

In this perspective the expression becomes an almost objective language to describe buildings in a way that everyone could understand and agree on. If an architect is able to control the making of such expression, he is able to give buildings a meaning which is credible. Therefore I distillated three key themes how expression comes about out of Rosalind E Krauss’s 1977 book Passages in Modern Sculpture: ‘material processing’, ‘the space in which the artifact stands’ and ‘our bodily experience’. They explain how an artifact, sculpture or building, brings about an expression. In the ‘material processing’ we have seen that it is possible to combine a process of making with a form that doesn’t match our expectations. In that case, there arises a tension in the expression. Instead of the word 26

tension we could also say that the tectonic concept reveals a quality of the material, which was not expressed before. this combination between revealing and concealing is an important aspects of tectonics.

To even better understand the translation of a tectonic concept into an artifact with a certain expression, we use in this reflection Kenneth Frampton’s 1995 book Studies in Tectonic Culture: The Poetics of Construction in Nineteenth and Twentieth Century Architecture. Frampton describes how we could divide a building into an earthwork, framework and roof, in order to investigate its tectonic concept. He explains how the primitive hut – as borrowed from Gottfried Semper – uses a earthwork as floor defining a place. On top of this earthwork stands a framework, which divide space, and carries on its turn the roof that protects the space. But, a shift in their relation, way of making or material, determines the shift the final expression.

Looking at buildings or artifacts in

this way is best to define a tectonic concept and determines what kind of expression it creates. I will use these concepts to reflect on our final artifacts.

Our final artifact is a blanked made out of a patchwork, which covers a cardboard frame. In this artifact the blanked has the expression of a skin, which conceals a skeleton underneath it. This skeleton is made in a way that has a strong orthogonal direction, but by covering it with a blanked made out of a different piece’s, the final artifact becomes non-directional. In this way, it doesn’t reveal the structure of the Skelton underneath it. The blanked reveals the material qualities of covering and its capability of creating a freeform, but on the other hand it expresses only this quality when it get shaped by the cardboard which carries it. Therefore, we also cut the cardbord in an asymmetrical wavy pattern to support this idea.

Although it looks obvious, it is this relation between these two materials in this form that reveals a

quality of the material and gives the expression of a free formed skin. The absence of an earthwork connecting it to the ground and the connection of rising waves that are held by the cardboard reinforces this idea of a freeform even more.

We have learned how an expression comes about, but also how an architect could think about a design in order to create an expression. Knowledge about processing materials is necessary, but without knowledge about our bodily experience or the experience of space we are not able to create it. So in addition to the toolkit for a tectonic concept as presented by Frampton – earthwork, framework and roof – the architect needs the craftsmanship, knowledge and feeling of making in order to create meaningful expressions, instead of using farfetched metaphors.

7QQ1M0 | Architectural expression |Assignment part 2

INDIVIDUAL REFLECTION Malak Mehta

Pursuing the course “Architecture Expression” was an entirely different experience for me. The course gave an insight on how to analyse the expression of any artefact or building not by deep knowledge but purely by observation.

At first, understanding expression and what it conveyed was a bit confusing. But after the individual exercises of expressing a “coal bunker” using wax paper and reading the text by Krauss, the meaning of expression became quite clear. As stated by Frampton,

“Without wishing to deny the volumetric character of architectural form… priority given to space by a reconsideration of the constructional and structural modes… mere revelation of constructional technique but rather to its expressive potential. In as much as the tectonic amounts to a poetics of construction it is art…. nature of building is as tectonic and tactile in character as it is scenographic and visual, although none of these attributes deny its spatiality.”

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The process of understanding architecture expression involved not only the analysis of the expression of the coal bunker(Fig 1), but also an understanding of the material properties of wax paper and how different expressions can be derived from the same.

Similarly, an understanding of materials, expression and tectonics was also sought in the second exercise. Here, “Tectonic becomes the art of joining”. With a challenge of connecting the two materials, the exercise continued with how different artefacts can portray the same expression. As you can observe in the two figures (Fig 2, Fig 3), both the artefacts try to express that the insulation as a connection combining cardboards together. The exercise also helped in understanding the underlying properties of these materials rather than just the factual properties thereby giving a deeper idea of how these materials could be used in enormous combination to express different things. In the

team work, we built an artefact (Fig 4), the basic idea of which was to form a connection between the recycled material using the cardboard joints which could express the idea of a skin or covering, that could hide the essence of the original object it covered.

Comparing the two exercises, a sense of parallelism can be observed. Materials have diverse qualities and yet can express the same characteristics when used in different forms.Moreover, a change in relation between the materials’ properties and their expression was obtained while there was a shift in scale of the object. On the smaller scale the materials expressed certain properties while on a larger scale, those properties changed.

Ultimately it was a great experience to understand different materials and how they can be used to express different characteristics. It was also interesting to know that an artefact of the building may differ in resemblance and yet have the same expression.

Frampton, K. (1995). Studies in tectonic culture.(Pg-6)

Fig 1.

Fig 2.

Fig 3.

Fig 4.

INDIVIDUAL REFLECTION Joost Jansen

One of the goals of this course was to understanding and knowing the expression of a building or artefact regarding its construction. The process of making and the materiality became important for this part.

For the first individual part we had to make a model of a coal bunker made of wax paper which showed the expression of the bunker.

These bunkers were mostly expressed by heavy, stable, light or hollow etc. But this wasn’t easy to show in the wax papers. By only folding or interlock this material the expression of the coal bunker had to be shown. However in some way the models looked to much like the coal bunker and not like the expression of it. Umberto Eco once remarked: ‘‘as soon as one has an object of “use” one necessarily has a sign that is indicative of this use.’’

1 This probably happend to me as well. I took the object to literally.

In this model the construction is shown by the lines made by the folds. The model should look heavy, 30

On this picture it is quite solid but the folds on the top makes it look a bit flexible and this shouldn’t be this way.

For the second individual assignment we had to make a model as well. In here the connections between the materials became important. From here on the Tectonic part became important. ‘‘In Greek ‘tekton’ appears in Homer, where it alludes to the art of construction in general.’’ 1 The connection between the two elements became important. In my model the connection between the two materials shows somehow how the construction of the model works. In this model it is all about compression. By the use of compression the model is able to stand and acts like it does.

For the final part we had to make several models and develop these models towards a final model. The concept for our model was that the insulation material would be formed by the cardboard material underneath it. In the last picture

we can see that the insulation is shaped by the form underneath. it acts like a cloth. From this picture we can see the joints that are made by placing the insulation in a cardboard H. In this way we could attach pieces of insulation together to make a big continuous piece. ‘‘Tectonic becomes the art of joining, in this way tectonic indicates as an assemblage not only of building parts but also of objects.’’ 1 It can be seen that this is closely related to architecture. Tectonics in architecture is also about showing the joints or the construction behind it. In most cases the construction can be seen in the facade as well.

Mostly in buildings which use a lot of steel and glass use these tectonic constuction methods. Materiality is important for tectonics, this can be seen in the models as well. Using two different materials is easier to show a specific expression, this is because of the fact that each material his their own capabilities.

This difference between the first and the last model can easily been seen.

1. Frampton, K., & Cava, J. (1995). Studies in tectonic culture : the poetics of construction in nineteenth and twentieth century architecture. Chicago (Ill.): Graham foundation for advanced studies in the fine arts.p.2-4

7QQ1M0 | Architectural expression |Assignment part 2

INDIVIDUAL REFLECTION Anke Thijssen

In this course there is research done about the relationship between expression and construction.

This research is done by making artifacts and reading literature.

In the first part of this course the expression from a coal bunker is expressed by an artifact of one material (wax paper). This was very hard to do, cause of the different material properties of the paper and the coal bunker, but also how I had to look to the coal bunker. The main expression of the coal bunker was that is look like very huge but at the same time hollow and light. To express this expression in the wax paper, the structure of the wax paper must immediately display this expression. Or while the tectonic in the paper is not only the structure, but directly the form of art.

In the second part of this course, we had first individually make a model of the connection between insulation and cardboard. Now the material properties of both materials were very important. The possibilities per material have been re32

searched. The insulation material is very flexible and the cardboard material especially easy to work with and sturdy. In my model, the cardboard material is for that reason used as the structure material, between the cardboard the insulation material is pushed, see image.

After that we make more models about the connections and choose one concept to work out. This concept is how the insulation material is following the underlying structure of cardboard see image.

At the end we work this concept more out, with some other connections between the insulation parts. ‘’ Only to this extent does tectonic also involve judgment over art production’’ 1The expressive of the artifact now comes from the underlying construction that is visible through the insulation shape with connections above it. In some picture the whole artifact looks like very massive, but in other ways if you look at the connections and the structure of cardboard, it looks like very hollow. But the main expression is 1.Frampton, K., & twentieth century 2.Frampton, K., & twentieth century

Cava, J. (1995). Studies in architecture. Chicago (Ill.): Cava, J. (1995). Studies in architecture. Chicago (Ill.):

still that the expression comes from the underlying structure and the connections between them.

By reading the literature , the purpose of this course becomes more clear. Because of the principle is comparable with the practice of architecture. ‘’… a distinction that I have attempted to relate to the representational and ontological aspects of tectonic form: the difference, that is, between the skin that re-presents the composite character of the construction and the core of a building that is simultaneously both its fundamental structure and its substance.’’ 2 The appearance of a building is formed by the construction. Different types of details are also created and in this way the connections or details can radiate a certain expression. These details are also often repeatable or continuous able.

So by the making of architectural connections and constructions, the structure and connections will display the form of art.

tectonic culture : the poetics of construction in nineteenth and Graham Foundation for Advanced Studies in the Fine Arts.p.4 tectonic culture : the poetics of construction in nineteenth and Graham Foundation for Advanced Studies in the Fine Arts.p.16

INDIVIDUAL REFLECTION Lucas Vreeswijk

During this course a lot of models were made exploring expressions and tectonic value of materials.

In this reflection I would like to look back on two final models I worked on. The first model is my individual model of the midterm.

This model was inspired by a coal bunker in decay, of which only the concrete structure is still standing.

This model was made by wax-paper and shows the massiveness and heaviness of the expression of the coalbunker. Essential in achieving this, are the straight lines, solid forms and the continuous planes of the surface of the materials.

The second model shows one of the experimental final artefacts of the final assignment. The object that is concealed (partly) by the patchwork blanket, was a concrete tapping block. The blanket follows the form of the block, and the whole setting disorients the observer. It is not completely clear anymore what this object is or was. The chosen picture here doesn’t show this principle as strong as previous 34

used pictures. I chose this picture because it shows something different. In the blanket is a tire print visible and also the cardboard stich shows that it was run over.

What I find so striking in this image is that the blanket becomes integrated in the surroundings even more. It shows both the vulnerability and the flexibility of the insulation fabric. On one hand the material is obviously affected and transformed damaged, but on the other hand the patchwork design still looks intact. This dualistic character completely concealed the massive and robust material aspects of the concrete underneath.

Even when approaching form, a side which shows the concrete, the observer is less aware of the robust character of the concrete tapping block.

My midterm model uses its own surface qualities to show and reinterpreted a certain expression given by building of different materiality. In that experiment I had extract the essence of the material

qualities and their expression. This knowledge brought me (and my groupmates) the tools to search for the unique material aspects of the given materials. To finally end up with the final artefacts that purely use their own material qualities and their joint qualities, to create their own expression. I think that this hits the essence of not only this course, but it embodies the true nature of tectonic architecture.

To quote Adolf Heinrich Borbeind: ‘Tectonic is the art of joining. “art” here is to be understood as encompassing tekne, and therefore indicates tectonics as assemblage not only of building parts but also of objects’.1 It is this material joining that created the unique expression of our models.

I personally think we as group came close to the essence of a true tectonic expression. It was very informative experience of experimenting with all these different materials.

1. Frampton, K., & Cava, J. (1995). Studies in tectonic culture : the poetics of construction in nineteenth and twentieth century architecture. Chicago (Ill.): Graham foundation for advanced studies in the fine arts.p.2-4

My midterm artefact

The Experimental final artefact

Renato Kindt & Ralph Brodruck Jeppe Koelewijn, Lucas Vreeswijk, Stijn Swolfs, Malak Mehta , Anke Thijssen, Joost Jansen, Jade van Pelt Eindhoven University of Technology Faculty of the Built Environment