Vol. 45, No. 1, January-February 2003
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Architectural Traces of an Admirable Cipher: Eleven in the Opus of Carlo Scarpa1
Nexus Esecutivo 19-01-2004 9:17 Seite 7 Marco Frascari Architectural Traces of an Admirable Cipher: Eleven in the Opus of Carlo Scarpa1 Consciously or unconsciously, part of the apparatus that architects use in their daily fabrications of the built environment grows out of their understanding of numbers and numerals. Marco Frascari examines the use of number and especially the number 11 in the architecture of Carlo Scarpa. In Scarpa’s opus, it is true that One and One Equals Two, but it is also wonderfully true that A Pair of Ones Makes an Eleven. Imagination is everything (Raymond Roussel 1975, p. 279). Introduction In their daily fabrications of the built environment, architects deal with the various chiastic relationships between visible and invisible. Part of the apparatus that they use, consciously or unconsciously, to imagine future constructions grows out of their understanding of numbers and numerals. To divine future buildings they rely on numeracy.2 Architectural numeracy consists in neither objective nor subjective constructs based on an arithmetical use of numbers, but rather in sedimentations of experience, formed by matter and memory. By the agency of tectonic aspects controlled by numbers, architects relate visible construction with invisible constructs. By linking recollection and anticipations, architectural numeracy deals with the meanings of constructional aspects and gives new visual angles. By using poli-dimensional tools of transversal epistemologies such as “angelic numbers” and “monstrous numerals”, the architect’s control of numbers transacts tangible matter with intangible dreams. Numbers summon up in detailed examinations what is passing and what is to come. Embodied in tectonic events and parts, numbers hinge the past and the future of buildings and their inhabitants into a search for a way of life with no impairment caused by psychic activity. -
Cladding the Mid-Century Modern: Thin Stone Veneer-Faced Precast Concrete
CLADDING THE MID-CENTURY MODERN: THIN STONE VENEER-FACED PRECAST CONCRETE Sarah Sojung Yoon Submitted in partial fulfillment of the requirements for the degree Master of Science in Historic Preservation Graduate School of Architecture, Planning and Preservation Columbia University May 2016 Advisor Dr. Theodore Prudon Adjunct Professor at Columbia University Principal, Prudon & Partners Reader Sidney Freedman Director, Architectural Precast Concrete Services Precast/ Prestressed Concrete Institute (PCI) Reader Kimball J. Beasley Senior Principal, Wiss, Janney, Elstner Associates, Inc. (WJE) ABSTRACT Cladding the Mid-Century Modern: Thin Stone Veneer-Faced Precast Concrete Sarah Sojung Yoon Dr. Theodore Prudon, Advisor With significant advancements in building technology at the turn of the twentieth century, new building materials and innovative systems changed the conventions of construction and design. New materials were introduced and old materials continued to be transformed for new uses. With growing demand after WWII forcing further modernization and standardization and greater experimentation; adequate research and testing was not always pursued. Focusing on this specific composite cladding material consisting of thin stone veneer-faced precast concrete – the official name given at the time – this research aims to identify what drove the design and how did the initial design change over time. Design decisions and changes are evident from and identified by closely studying the industry and trade literature in the form of articles, handbooks/manuals, and guide specifications. For this cladding material, there are two major industries that came together: the precast concrete industry and the stone industry. Literature from both industries provide a comprehensive understanding of their exchange and collaboration. From the information in the trade literature, case studies using early forms of thin stone veneer-faced precast concrete are identified, and the performance of the material over time is discussed. -
Clarkson University Catalog
CLARKSON UNIVERSITY CATALOG 2008-2009 Undergraduate and Graduate programs offered through School of Arts & Sciences School of Business Wallace H. Coulter School of Engineering Physical Therapy Interdisciplinary Programs www.clarkson.edu 315-268-6400 Clarkson is a nationally recognized research university with rigorous programs in engineering, arts, sciences, business and health sciences. Clarkson’s 3,000 students learn and live in a close-knit residential environment augmented by award-winning career service and experiential learning initiatives. As one of the smallest ranked research institution, Clarkson makes its size its advantage by readily affording students and faculty the flexibility to span the boundaries of traditional academic areas. As a result, Clarkson is at the forefront of exploring the creation of wealth and bridging the processes of discovery, engineering innovation and enterprise. Founded in 1896, Clarkson’s 640-acre wooded campus is located in the foothills of the Adirondack Mountains. Potsdam is the quintessential “college town” with four higher education institutions within a 10-mile radius offering exceptional cultural and recreational venues. Clarkson’s educational strengths include: • rigorous professional preparation • dynamic, real-world learning • highly collaborative community • teamwork that spans disciplines QUESTIONS regarding undergraduate admission and requests for information about Clarkson may be directed to the Office of UndergraduateA dmission. For graduate programs, direct inquiries as indicated -
The Symbolic Form of Architecture
THE SYMBOLIC FORM OF ARCHITECTURE An investigation into its philosophical foundations and a discussion on the development of the perception of architectural form by modern theoreticians and symbolist architects by Scott Rimmer Thesis submitted to the Faculty of the Virginia Polytechnic Institute and State University in partial fulfillment of the requirements for the degree of Master of Architecture APPROVED BY: Hans Christian Rott, Chairman Maria Karvouni, Member Markus Breitschmid, Member April 28, 1997 Alexandria, Virginia Copyright © 1996, Scott C. Rimmer THE SYMBOLIC FORM OF ARCHITECTURE An investigation into its philosophical foundations and a discussion on the development of the perception of architectural form by modern theoreticians and symbolist architects by Scott Rimmer Chairman: Hans Christian Rott, Graduate School of Architecture (ABSTRACT) This thesis investigates the concept of the symbolic form of architecture. It first focuses on the philosophical foundations for this concept in the works of Ernst Cassirer, Immanuel Kant, Conrad Fiedler, and Theodor Adorno. Then, the development of the modern perception of form in architectural theoreticians, where “modern” architectural theory evolved from an analogical state into a symbolic state, is examined: Karl Bötticher’s concept of a Junktur and his attempt to transcend the presumed dichotomy in architecture between ornamentation and form is discussed; Gottfried Semper’s concept of style and Alois Riegl’s concept of motif are presented as reactions against what they saw as the mechanistic reliance on structure as definitive of form in architecture; Louis Sullivan’s ornamentation is discussed as an attempt to integrate structure and ornamentation into a morphological whole; Otto Wagner’s attempt to purge architecture from analogical responses through a strictly constructional basis for ornamentation is presented; and Adolf Loos’ dismissal of decorative ornamentation, since it is an impediment towards true aesthetic judgment, is examined. -
Master of Modern —Pilsen 01 Preface Adolf Loos Was a Key Figure in Architecture but His Legacy Has Had to Endure Turbulent Times in His Czech Homeland
report Adolf Loos Tt 50 MASTER OF MODERN —Pilsen 01 Preface Adolf Loos was a key figure in architecture but his legacy has had to endure turbulent times in his Czech homeland. Now that restorations of his most dazzling interiors are underway, his designs are set to be revealed in all their glory once more. writer Joann Plockova photographer Daniel Gebhart de Koekkoek In 2014, architect Ludvík Grym spent a night in a sleeping bag on the floor of a flat in Pilsen, CzechR epublic. Located at 10 Bendova Street, the apartment’s inte- rior was designed by a legend of modern 20th-century architecture: Adolf Loos. Grym, who is based in Brno – where Loos was born – was the architect selected to design and supervise its restoration. “That was part of my process of get- ting in touch with the atmosphere,” says Grym. In addition to a flat at Klatovská 12 and Brummel House at Husova 58, 02 issue 83 — 125 report All natural Adolf Loos Adolf Loos was born in 1870 in Brno, today the Czech Republic’s second- largest city but then the capital of Moravia within the Austro-Hungarian Previous page: empire. His work extended 01 Original sideboard at beyond his home city to Bendova 10 Vienna – with which he is 02 Apartment curtain most associated – Paris, Prague and Pilsen. Loos This spread: was profoundly influenced 01 Bendova 10 restoration by his stay in the US head Ludvík Grym between 1893 and 1896. 02 Built-in picture frame at Loos’ essay Ornament Klatovská 12 and Crime, in which he 03 Bedroom dressing table Tt 50 attacked the decoration of 04 Varnishing original Viennese Secessionism, wood in the bedroom was the basis for a lecture at Brummel House he gave in 1910 that came 05 Radiator’s play a key role to define his influential in Loos’s interiors role in modernism. -
31295010056082.Pdf (10.39Mb)
ijsa Jfw TAMPA DOWNTOWI^ DEVELOPMENT Analysis, Discovery, Synthesis This program submitted in partial fulfillment of thesis project for 85-86 submitted by Randy Grange submitted to Instructor James Postell 16 December 1985 m he TABLE OF CONTENTS Bases for Project n^.*^'Environmental Analysis •"^ Story #1 5 Story #2 19 Historical Context 35 The Changing Economic Base 39 New Developments 4 2 Existing Land Use & Proposed Land Use:/ 55 Current & Projected Employment in CBD-- 65 Political Atmosphere Surrounding Downtown Development 57 Population Distribution'^ 70 Downtown Circulation Systems 73 Quality of Life in Tampa 83 Site Analysis Climatology 89 Geology 98 Hydrologies 100 Topography 101 Biology 101 Electric & Gas 103 Telephone 104 Water & Sewer 105 Downtown Tampa Images 108 Determination of Project 119 Case Studies Baltimore's Harbor 127 Quincy Markets: Boston 132 South St. Seaport: New York 137 Activity Analysis 1/ 141 Space Summary 170 Detailed Space List 173 Performance Criteria-^ 184 Cost Analysis 192 INTRODUCTION Throughout the history of man, people have tended to group together with other people sharing the same geographical area and interests, as civilizations developed, people found that specialization of tasks was a much more efficient method of satisfying the physical needs of life, thereby allowing more leisure time. Without having to spend every waking moment just trying to survive, people found other needs existing at a higher, spiritual level. The groups of people grew into cities, allowing an even higher degree of specialization, and hence, increased interdependence among the inhabitants. Cities have always served many functions and any one of these functions could be seen as reason enough for the city to exist. -
Architecture and Copyright: Loos, Law, and the Culture of the Copy
Architecture and Copyright: Loos, Law, and the Culture of the Copy Today’s architectural model workshops have become alchemi- cal chambers of curiosity, invested in turning information from digital files and various powders, sugars, or liquids into solid three-dimensional objects. Machines such as the lat- est EOSINT M270 can build in bronze alloy, steel, and cobalt chrome used for “tooling” and “prototyping.” Thus, simulta- neous and very similar to the development of contemporary design techniques, the entire process of copying emerges at the intersec- tion of a set of digital media and design technologies. But what makes the Ines Weizman copy—and, in particular, the architectural copy—so interesting is that it is London Metropolitan University a phenomenon of modernity. Just like the print, the photograph, the film, or the digital file, it is both a product of the media and a media form that in every situation and period reflects on the existing means of examination, production, and reproduction. We tend to think of the problem of mimicry within architecture and media as belonging to photography; sometimes, we discuss the media facades of buildings, but in these cases the agent and agency of mediatization moves through images. As reproduction technologies start shifting into the third dimension, we must relocate the discussion of the copy from the context of the fake and copyright law and place it at the heart of the media field. The copy is a reproduction—a media form in itself—referring both to itself and to its original, a part of an endless series of “aura-less” multiplications. -
Central Europe: Shaping a Modern Culture
Central Europe: Shaping a Modern Culture Instructor: Dr. Tomáš Hříbek Office hours: by personal arrangement Contact: [email protected] Course Description: This course will discuss the emergence of major modernist movements and ideas in the three Central European cities: Prague, Vienna and Budapest. In the period between the late 19th century and the beginning of the WW2, these cities were the main centers of the then disintegrating Austrian-Hungarian Empire and, later, the capitals of three independent states—Czechoslovakia, Austria and Hungary, respectively. Despite the political turmoil, all the three cities became a watershed of the ideas that remain to be the sources of the Western culture even today, including the dominant trends in the current North American culture. Thus, we shall see how the dominant ideas in the fields as diverse as religion, philosophy, science, psychology, art and architecture that have shaped the 20th century culture in the West can all be traced back to the works of the Austrian, Czech or Hungarian intellectuals such as Franz Brentano, Sigmund Freud, Adolf Loos and Georg Lukács. We shall have the extraordinary opportunity to study the fermentation of these ideas “on site,” in the very places in which these ideas originated. Course Objectives: To provide the students with a good grasp of the ideas that originated in the Central European region in the era of modernism, and an understanding of their historical as well as contemporary relevance. This is not an art history course, but a course on the history of ideas. Structure: The course will consist of lectures, seminar discussions of readings, and city walks and trips. -
Former Conditions
SOUTHWEST WASHINGTON, D.C., URBAN RENEWAL AREA HABS No. DC-856 (Page 79) The congregation, established in 1856 as the Fifth Baptist Church, is one ofWashington, D.C.'s three oldest Baptist churches. It was originally located at 609 E Street in the old - Southwest. Its former congregation was largely white, but today it is a mbcture of black and white members, many of whom live in Virginia and Maryland. The church building has a steep gabled roof, with stained glass windows at the front and back facades' peaked ends. These allow light to enter the tall interior space. The front and back A-frame gables are virtually identical to those of St. Matthew's, although the building la~ tbe side arches incorporated at its :more Modernist neighbor. The fa~de is faced in stone. The front doorway is recessed into a cove of steps, walls, and ceiling. Library Former Conditions The original South~est Branch LI"brary was part of Jefferson Junior High School. Washington, D.C., architect Nathan Corwith Wyeth designed the Georgian ReVival Thomas Jefferson Junior High School and Library, the library of which was dedicated on January 3, 1941. The" two-story, brick library wing served the community until mban reneWal preSet;lted an opportunity for the construction of a new f~cility. Building ofthe New Southwest In 1955, the library's Board of Trustees requested that the RLA incorporate a new library into their redevelopment plans. In 1962, a site was selected at 900 Wesley Place, at the comer of Third and K streets.451 S.J. -
Adolf Loos, a Controversial Architect -Adolf Loos’ Architectural Position Presents a Complex Relationship with Art Nouveau
-In the last session, we studied Art Nouveau. -Adolf Loos, a controversial architect -Adolf Loos’ architectural position presents a complex relationship with Art Nouveau. -On one hand, he appears to reject Art Nouveau’s decorative tendency, Art Nouveau’s aesthetic ideal of the total work of art. -On the other hand, Adolf Loos seems to still accept the significance of ornament. -Art Nouveau: ornament completes form -Loos somehow seems to embrace this idea of ornament when it comes to the design of civic buildings. Adolf Loos (1870-1933) -the son of a stonemason -studied at the Imperial State technical College in Vienna and the Dresden College of technology -traveled to America to visit his uncle in Philadelphia -admiration of American culture -Louis Sullivan “Ornament in Architecture” (1892) Advocated temporary abandonment of ornament until the architect was better able to manipulate unadorned forms Adolf Loos (1870-1933) Architectural position -Loos reacted strongly against Art nouveau’s and Jugendstil’s attempt to replace Beaux-Arts eclecticism with what he saw as a superficial system of ornament -rejection of Gesamkunstwerk (especially his article “Poor Little Richman”) -rejection of the very concept of ‘art’ when applied to the design of objects for everyday use, and rejection of the artist as the giver of Form (Gestalt) to machine age. And thus attack on the Werkbund -Building versus Architecture The building is a useful object and therefore not architecture (art). The portion of building activity that is considered to be architecture includes only memorials, cenotaphs, and monuments Adolf Loos (1870-1933) -the filling-up of the chasm bt. -
Pietro Belluschi Collection, 1927-1983
Pietro Belluschi Collection, 1927-1983 Overview of the Collection Creator Belluschi, Pietro, 1899- Title Pietro Belluschi Collection Dates 1927-1983 (inclusive) 19271983 Quantity Approximately 23,300 architectural drawings, ((186.5 linear ft.)) 360 photographic prints, ((25.5 linear ft.)) : b&w and col. 1 negative : col. 14 works of art , ((5 linear ft.)) 14 boxes of records , ((5.5 linear ft.)) Collection Number Coll 2 (collection) Summary The collection is a comprehensive representation of the work of Pietro Belluschi (1899-1994), an important twentieth century American regionalist and modernist architect. The collection consists of architectural drawings (1931-1983) including details, elevations, perspectives, plans, sections, sketches, tracings, blueprints, and photostats, as well as photographs, works of art , and records (1927-1983). Repository Oregon Historical Society, Davies Family Research Library Davies Family Research Library Oregon Historical Society 1200 SW Park Avenue Portland, OR 97205 Telephone: 503-306-5240 Fax: 503-219-2040 [email protected] Access Restrictions The collection is open to the public. Special arrangements must be made in advance to view this collection (except photographs) because the materials other than photographs are stored off site. Biographical Note Pietro Bellsuchi (1899-1994) was an internationally famous and prolific American architect whose career spanned more than 65 years. Categorized as a regionalist and modernist architect, Belluschi claimed to have designed more than 1,000 buildings during his lifetime. He was born in Ancona, Italy, to a middle-class family, served in the Italian Army and was decorated for bravery during World War I, attended the University of Rome, and in 1923 immigrated to the United States. -
Adolf Loos and Gustav Klimt
11 Beatriz Colomina Sex, Lies and Decoration: Adolf Loos and Gustav Klimt I. Adolf Loos is the only architect of his generation whose thinking is still influential today. In this he may have fulfilled his own prophecy that his work would last longer than that of his contemporaries because it would be passed on by word of mouth rather than by photographs in architectural journals.1 Loos was a humorous, mordant, and prolific writer whose theories were organized by a radical opposition to the Viennese Secession and the Wiener Werkstätte (fig. 1). The essence of what he said over three decades of polemical arguments in leading newspapers and journals, public lectures and manifestoes is that art did not have anything to 70 do with the everyday utilitarian object: “Everything that serves a purpose,” Loos wrote, “should be excluded from the realms of art.”2 The practice of artists and architects of his time of design- ing everyday objects was illegitimate. Those objects were already being designed by craftsmen, who perfected them over time in an anonymous, continuous, collective process of design. The ‘objet type’ of le Corbusier, the ‘objet trouvé’ of the Surrealists, Duchamp’s ‘readymade’, the ‘as found’ of Alison and Peter Smithson, and so on, are anticipated in Loos’ appreciation of the generic wine glass, the American bathtub, the Thonet chair, and the English raincoat. When, after an absence of three years (in America), I appeared in Vienna in the year 1896 and saw my colleagues again, I had to rub my eyes: all the architects were dressed like ‘art- ists.’ Not like other people, but—from an American point of view—like buffoons .