ARCHITECTURAL THEORIES AND DESIGN METHODOLOGIES THREE SCALES, THREE RELATIONSHIPS
Politecnico di Milano School of Architecture Urban Planning Construction Engineering Architectural Design A.Y. 2019/2020 | September Graduation Session
THEMATIC PORTFOLIO VILELMINI MARIA KESTSOGLOU | 900596
ABSTRACT
CONTENT
Architectural theory has formed the basis of architecture since antiquity
EVOKING ISTANBUL
and with the growth of publications, it has been significantly influential to the
HISTORY AND COLLECTIVE MEMORY
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constant formation of new styles and movements. However, thinking and design methodology is the core part of any design process, determining to a large degree the end result. Depending on the type of project as well as
ROM|BREAK
the people working on it, different design processes emerge, each following
CRITICAL REGIONALISM
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a distinct methodology which may or may not depend on one or more architectural theories. In some cases the conceptual phase and aspects intertwine fully with the design methodology and in others theory influences
THE ARTIST’S STAGE
indirectly the design methodology followed.
FORM FOLLOWS FUNCTION
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This study deals with the relationship between architectural theory and design methodology as well as the level and form of influence of the former on the latter. To do so, three projects of different scales and characteristics
CONCLUSION
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BIBLIOGRAPHY
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were chosen, each relative to an established architectural theory, investigating in this way the role that these architectural theories played in the design process of each project, as well as the degree to which they determined the methodology used and ultimately the obtained results.
EVOKING ISTANBUL
REFLECTIONS OF THE CITY
Golden Horn waterfront | Istanbul
Final Design Studio Professors | Antonella Contin, Ed Wall, Gaia Caramellino Collaborators | Clara Donati, Valentina Galiulo, Federico Mistò, Stefano Sanna
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Theory | History and Collective Memory A
prevailing
Architectural theory related to Urban and Architectural
intervention is that presented in the writings of Aldo Rossi. Identifying the Urban form as the artifact that structures the city and rejecting any interpretation of these artifacts in terms of function, Rossi stresses the importance of the study of history for the understanding of urban phenomena, seeing ‘the city as History’1. In that scope he introduces another important concept, emerging from the city’s history and distinctive character, that of the ‘Collective Memory’2. According to him the collective memory takes part in the transformation of the space, linking the architectural interventions directly to the city. As a result the importance of the urban structure, its individuality and its architecture is understood through history perceived as collective memory, ‘the relationship of the collective to its place’3. These concepts which express a certain sensitivity towards cultural and urban context, together with the understanding of typology as something to be studied closely with history and not to be directly imitated, make up the main aspects of Aldo Rossi’s theories and formed the basis for the definition of a design methodology used in the project for the redevelopment of Istanbul’s Halic waterfront. ISTANBUL - Crossroad Between East and West
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1-3. (Rossi, 2007)
STUDY OF CONTEXT AND STRATEGY
METHOD
Waterfront Transformation
Intervention
Methodology | Cultural and Urban Sensitivity: The project’s starting point emerged from the determination of a current issue in the Urban reality of Istanbul, which was identified as the social capsulation and rejection of various community groups, mostly immigrants, from the collective urban life. Therefore the project’s main goal was to tackle this issue with the proposal for the regeneration of the underused waterfront of the Golden Horn. The design methodology used follows the main principles of the theory mentioned above, starting from an in depth study of the history of Istanbul and its relationship to the urban metabolism of the city. As a result of this study it was deemed necessary to follow an approach conscious with regards to the cultural and urban context of the site, as well as to utilize the collective Memory of the city and its people to provoke a sense of belonging through the project to the capsulated communities of Istanbul. Finally, it became evident that a way to achieve this sense of belonging through the use of memory was by researching and integrating traditional historical typologies found in the city fabric to the project, as well as investigating the relationship of the city and its people to the water.
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MASTERPLAN
Urban sensitivity
Connecting city-water
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Relationship with the water
Connections with the city
HAN - Commercial Typology
OTTOMAN HOUSE - Kisk/Cumba
Openings in the Ottoman House
During the study of the history of Istanbul, some of its aspects that stood out were the international character it has held for many centuries, partially
The ‘Sofa’ in the Ottoman House
because of its geographical location as a crossroad between East and West, but also due to its status as the imperial capital and commercial and cultural center of the Roman/Byzantine Empire. As a result Istanbul became the place of residence for many different populations, a place of constant cultural exchange and movement, factors that contributed to its urban development over the years. It was this unique identity of the city that the project aimed to resurface, which was achieved through the stimulation of
Internal Space Organization - cells, sofa, openings
the collective memory imprinted on some traditional architectural types. Such types were the Han, a commercial building, the Ottoman house with its central room the ‘Sofa’, as well as the typologies which existed in the waterfront area in the past and their direct relationship with the water. With the aid of this in depth study of traditional typologies and their implementation to the proposal, the design method followed concluded to a project working closely with its context, the urban fabric of Istanbul and the cultural aspects accompanying it, not an isolated urban artifact. Furthermore, this approach led to the definition of forms and structures more relative to their urban context than a specific set of functions.
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Built forms - relationship with infrastructure and water
Direct contact of interior and city fabric
Interpretation of traditional typologies Building cluster - intimacy, belonging Double height ‘urban living room’ - ‘Sofa’
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Unification of cluster through a series of principles derived from the urban and cultural context: forms, meterials, arrangements
Built forms, external enclosed, semi-enclosed and open spaces
Enclosed cluster working with the surrounding Intimacy and variety of spaces
Openings in the built form Narrow visual connections with context
Giving the waterfront back to the city
Contemporary ‘Sofa’ interior
Interpretation of Han typology - cell configuration
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ROM|BREAK
NEW FORMS OF LIVING Rombon area | Milan
Architectural Design Studio 2 Professors | Giulia Setti, Giovanni Bassi, Ana Veljkovic Collaborators | Federica Basile, Sliman Darawshi, Giuseppe Pastonesi, Giovanni Gualdrini, Marta Zanardi
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Theory | Critical Regionalism:
Critical Analysis
A theory which has remained relevant until today and has been followed by various architects amongst which Alvar Aalto, Carlo Scarpa and Alvaro Siza is that of ‘Critical Regionalism’4 as presented by architect and historian Kenneth Frampton. In his writings, the urge of modern Architecture to optimize technological elements as well as the sentimental approach of reviving the architectonical forms of the pre-industrial era, are the main factors that prevent significant urban forms from being created. As an alternative approach to modern Architectural practice he suggests that it should be perceived as a critical practice, distanced from such conservative ideologies so it can cultivate urban forms of independent identity. One of the fundamental aspects of Critical Regionalism is that it provides a middle ground between ‘universal civilization’5 and the particular elements of a specific location. Its aim as a theory is to use indirectly such elements without reviving forms of the past, providing in this way an alternate understanding of the concept of ‘context’. The reinterpretation of context not in its rationalized way which is sight, but through a more direct experience of the environment using other senses such as smell, hearing and taste is used to inscribe the specific culture and environment of an area to the Architectural form. In the regeneration project done for a site on the outskirts of Milan, some of the main concepts of this theory were utilized in defining a methodology to be followed for the design process. Metropolitan Context
4-5. (Frampton, 1983)
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Methodology | Former Context and New Identity The site chosen for the project in the outskirts of Milan, in proximity to via Rombon, which is one of the main entrances and exits from the city, is considered an ex industrial area and has been identified as suitable for redevelopment by the municipality. New developments have emerged in the surrounding area of the site in the last years such as university dormitories, residential buildings as well as spaces used for entertainment, coexisting with the old industrial built forms which have either been repurposed or abandoned. As part of this regeneration process of the area and the repurposing of old warehouses, the area is now part of the Milano design week with numerous exhibitions and events being held there. These aspects made it evident that it is an area with a strong past identity seeking for a new one and thus some concepts of Critical Regionalism could be used in the definition of a methodology for its regeneration.
Typological Analysis used in a critical way
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Context Elevations, Perception of the Environment
Starting from an analysis of the site in the metropolitan scale and then
MASTERPLAN AND STRATEGY
moving closer to it’s surrounding context, identifying the main uses of non-residential buildings and their typological aspects, as well as the most common residential typologies of the area it was possible to have a critical understanding of the needs and potential direction of the redevelopment of the area. This critical approach of the use of the context can be identified in aspects of the project such as the decision to not follow the courtyardstyle typology which is common in Milan and is found in the surroundings of the site. Instead it was decided to partially enclose the site leaving parts of it completely permeable and others semi-permeable through open ground floors of the market and residential complex. This design decision occurred because of the aspiration to provoke a feeling of openness and inclusivity to users which was a common aspect of the surrounding areas, green spaces and spaces used during design week. Utilizing the study of context in a less pragmatic way, more focused on the experience of the environment also enabled a design using light and the multiple different exposures of the project. One of the principles identified in the elevations of the surrounding built form was the different levels of exposure of the buildings based on their purpose and function, less for completely private use and more for buildings intended for the public. Thus, the projects elevations were designed accordingly, thinking about the different experience these perceptions of light provoke, with a public market completely glazed and a residential complex with wooden panels creating a non-constant effect of light and shade. Partially enclosed site
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Open ground floors and first floor entrance corridor looking to the street
Feeling of openness in the partially enclosed part of the site
Section-Elevation shows the approach followed for the internal facade
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Exploded axonometries showing the openings, exposures to light and internal distribution of the buildings
Detail Section-Elevation showing the effect of light and shade created by the panels, light exposure of the residential building
Elevations of Row Houses, similar approach and materials as for the residential complex
Contrast of elevations and exposure to light between the public and private buildings
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THE ARTIST’S STAGE FORM AND FUNCTION Villa Panza | Varese
THE ARTIST’S STAGE
Interior Design Studio Professors | Antonella Yuri Mastromattei, Christina Colombo Collaborators | Francesco D’Aloisio, Valentina Voltolin
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Theory | Form Follows Function
Public space
The stage
The artist’s presence
The artist’s path
Wrapping shell
Inserted volumes
In this last part of the work a theory which does not deal with the context of a project is presented. As introduced by Louis Sullivan in the 19th century, in his effort to determine the form of the high rise skyscraper, the concept that ‘form ever follows function’6 suggests that the shape of a building should be attributed to its purpose and function. He based the core of his theory on the writings of Roman architect, engineer and author Vitruvius, who states in De Architectura that ‘a structure must exhibit three qualities, firmitas, utilitas, venustas’ so solidity, usefulness and beauty. Sullivan considered his theory a rule which stems from nature, as all things that exist in it have a form that distinguishes it from one another, making it a rule that does not have any exceptions. This theory is opposed to other common approaches that suggest a direct connection of form with its precedent and has been interpreted in various ways throughout the years. Concept - Common elevated platform
THE ARTIST’S STAGE
6. (Sullivan and Twombly, 1988)
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Methodology | Form as a Direct Reading of Purpose
MASTERPLAN
The project in Villa Panza, in Varese was defined by some very specific requirements of the client. His role as an artist who would work, exhibit his art and live on the site as well as the need for a private space which would coexist with a public one to ensure exposure of the artist and his work to the visitors of Villa Panza, were two of the main considerations in determining the design methodology. Since these main aspects were related to the purpose of the project, it was evident that an approach following the theory of form defined by function would produce interesting results. Circulation
Solid and void
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Flexible Furniture
Exposure to the public
As a starting point the two main functions that the building would have were
Starting by elevating the house on a platform and moving its base inwards
defined and later for each one of them a design decision was made which
so that it would seem like a floating stage to anyone standing on the garden,
was directly reflected on the building’s form. The building would provide
the building draws the attention of visitors. To contradict the completely
housing for the artist and therefore it also needed to grant him privacy from
enclosed volume of the main living unit, the platform was extended towards
the visitors, mainly from the side directly next to the public parking lot. For
the street, acting as an external open to the public part of the house which
this purpose, it was decided that the built form itself would act as a barrier
would allow the artist to interact with people. Finally, to further ensure the
between the project site and the parking lot which would appear as a solid
exposure of the artist and his work, this platform was even extended outside
wall without any openings. On the other side of the site looking towards a
the boundaries of the site on top of the street, protruding like a balcony
small garden accessible by the visitors and the artist himself, the main living
from the outer walls of the premises of the Villa. In this way the project and
unit of the building was designed to appear as a solid volume, implying
thus the artist would be noticed even from the street and the surroundings
in this way its function as a private part of the project. The only openings
of the site. To conclude, the overall method used in the design process
of the house are found on its roof and its lateral side looking to the street.
of this project consists of a very direct interpretation of its function and
The second objective of the project was to present and expose the artist to
translation of this reading to simple but thought out forms serving a
visitors, which was achieved through a series of adjustments that directly
specific purpose.
affected the appearance of the built form. Private living unit and semi-private open platform
The stage as seen from the garden
Living unit and opening towards the platform
Lighting system - emphasis on the open platform
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Sections showing the interior private spaces
Physical model 1:20 - the effect of solid and void forms
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Living unit designed using the concept of enclosed solid volumes
Contrast between private and semi-private spaces
Perspective section showing the concentragtion of private activity
Physical model 1:20 - opened to show the living unit
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CONCLUSION Despite the constant progress of architectural design process and the
of the context, leading to a design process based on concepts such as cultural
innovative methodologies used, some of the predominant architectural
and urban sensitivity and eventual use of traditional typological aspects. In this
theories of the past are still adopted by architects during the conceptual
case, the relationship between theory and methodology can be considered
phase of projects, as they have been elaborated for practical use and not
as indirect since its effects can be identified mostly on the conceptual scale
just for theoretical purposes. What differs from one project to another is the
and not on the design.
extent to which theory has been utilized in the design process, the way in
Kenneth Frampton’s theory on Critical Regionalism also deals with the idea
which it has affected the methodology and whether this effect is evident
of using the study of context in the design process, however some of the most
in the final result or not. Through the investigation of three architectural
important aspects of this theory are the critical use of the context analysis,
theories and their implementation on different projects it became possible to
as well as the reinterpretation of what is perceived as context, using all senses
compare and contrast the different approaches based on the way theory was
rather than just sight. Consequently, this critical approach to the study of
interpreted and used in each design methodology.
context led to design decisions influencing in a more direct way the built
The first part of this study deals with Aldo Rossi’s theory on the importance of
forms, focusing on the experience of the environment. The effect of Kenneth
the study of history and its understanding as the collective memory of the city,
Frampton’s theory on the methodology applied to this project was thus more
as well as his views on the use of typological analysis. This theory in essence
significant to the final design and not only influential for the initial phases of
refers to a set of more general guidelines for the preliminary analysis phase of
the analysis like in the previous example.
the design process, that are deemed to be of great importance to the project’s
The last part of this study examines Louis Sullivan’s theory that form always
evolution. Thus, in the Istanbul project this theory established a starting
follows function, a theory which unlike the ones presented previously does
point that guided the analysis of the historical and cultural background
not deal with the context of a project but rather with its purpose. As it was
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BIBLIOGRAPHY stated by Sullivan, it should be perceived like a rule to be followed without any
Brawne, M., 2003. Architectural Thought And The Design Process. Oxford:
exceptions and since it relates to the physical aspect of a project, its form,
Architectural.
it is the most absolute theory out of the three. The effect of this theory to the method followed for the project in Villa Panza can be clearly identified
Frampton, K., 1983. Towards A Critical Regionalism: Six Points For An Architecture
in the end result as it directly contributed to the shaping of the built
Of Resistance. Seattle: The Anti-Aesthetic. Essays on Postmodern Culture.
form. Concluding this study with an example of a very absolute theory and its elaboration to a design methodology, completely different than the previous
Frampton, K., 2010. Modern Architecture. London: Thames & Hudson.
ones, demonstrates the wide variety of approaches that can be followed when integrating concepts from architectural theories into the design process.
Kruft, H., Callander, E., Taylor, R. and Wood, A., 2003. A History Of Architectural Theory: From Vitruvius To The Present. New York: Princeton Architectural Press. Rossi, A., 2007. The Architecture Of The City. Cambridge, Mass: MIT Press. Sullivan, L. and Twombly, R., 1988. The Public Papers. Chicago: University of Chicago Press.
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