BIBLIOGRAPHY OF FIRST COURSE WORK
Please find the introductions of the first two books of the bibliography of the first lecture at:
We will have to decide how to go about the bibliography. As I explained in my last email what we are doing (Scanning and uploading books) is not the best solution. Either your institution will buy the books I can indicate for the course as soon as possible or you will have to find your own sources for each lecture in agreement with me. Let us discuss on the blog which way you want to go.
Wednesday 18 February 2009
Monday 16 February 2009
Table Sidonia Teodorescu
University of Architecture and Urban Planning Ion Mincu, SITT, 2008, 3rd semester
TH02 Intellectual Systems and the Materiality of Architecture
Prof. PhD. Maria Voyatzaki
Arch. Sidonia Teodorescu
Architecture and materiality
Intellectual system:
BEFORE MODERN:
VALUES
-formalism
-the Da Vincian figure (The Vitruvian man) becomes the rule, the order and the reference for the beauty of a form
-ornaments
-Renaissance
-natural beauty
-elegance
HUMAN BEING
-the human = a divine image, a model, an ideal, an exemplar
ARCHITECTURE
-hybrid ornamentation
-Beaux-Arts
MATERIALS
-wood, baked and compressed earth, masonry, brick, stone, metals, reed
-limestone, marble
TECHNIQUES
-resistant structures
-equilibrium of forces
-stability, solidity
-vaults
-timber barns
-brickwork
ARCHITECTS
-Vitruvius, Leon Battista Alberti, Leonardo da Vinci, Michelangelo Buonarroti, Andrea Palladio
BUILDINGS
- Stonehenge, the Egyptian Pyramids, the Doric temple, Collosseum, the Gothic cathedral, The Sistine Chapel, San Pietro Cathedral -Rome, the Chambord castle, Villa Rotonda, Taj Mahal, the Louvre
SOCIO-ECONOMIC AND CULTURAL CONTEXT
-Christianity
-Absolutism
-Renaissance
“TRANSCRIPTION” OF VALUES AND PRINCIPLES INTO FORMAL PROPOSITIONS AND CONSTRUCTION METHODS
-formalism
-confidence and serenity
MODERN:
VALUES
-democracy
-standardization
-clarity, purity and honesty
-function
-system
HUMAN BEING
-modular
-optimum expression of functionality and of the Ideal Machine
ARCHITECTURE
-linear
-pilotis
-flat roof
-free plan
-absence of ornament
-The international Style
MATERIALS
-reinforced concrete
-steel, iron, glass
-bearing and non-bearing materials
-mass produced elements
-minimal and true use of material
TECHNIQUES
-frames; skeleton and skin; brickwork
-repetition
-economy of material and equilibrium
-truth to material
ARCHITECTS
-Viollet-le-Duc, Victor Horta, Otto Wagner, Louis Henri Sullivan, Charles Rennie MacKintosh, Antoni Gaudi, Antonio Sant’Elia, Adolf Loos, Auguste Perret, Le Corbusier, Mies van der Rohe, Frank Lloyd Wright, Walter Gropius, Alvar Aalto, Marcel Breuer, Jorn Utzon, Marcel Iancu, Horia Creanga, Oscar Niemeyer
BUILDINGS
-Brooklyn Bridge, Crystal Palace, Eiffel’s Tower, Villa Savoye - Poissy, Unité d’Habitation – Marseille, Casa Milà – Barcelona, Brasilia Cathedral, Technology Institute of Illinois, Seagram Building – New York, Johnson Building, Guggenheim Museum – New York, German Pavilion in Barcelona Exhibition (1929), Tugendhat Villa, Sydney’s Opera House
SOCIO-ECONOMIC AND CULTURAL CONTEXT
-The two World Wars, The World Economic Crisis
“TRANSCRIPTION” OF VALUES AND PRINCIPLES INTO FORMAL PROPOSITIONS AND CONSTRUCTION METHODS
-"function follows form", the function should be clearly expressed,"purism", "fidelity for the used materials”
-standardization; industrial methods of building
-internationalisation
-“The Architect is a carpenter who learned Latin” (Adolf Loos)
-material efficiency
-structure=architecture
-transparency
-monolithic construction
-the cult of everyday
POST-MODERN:
VALUES
-need for collective memory references
HUMAN BEING
-expressive skin of the social and cultural body
ARCHITECTURE
-the elevation is an intelligent façade or skin, which reacts dynamically to stimuli
-"Neo-eclectic", where reference and ornament have returned to the facade, replacing the aggressively unornamented modern styles
MATERIALS
-materiality of the non-load bearing elements, which become the building elements capable of alluding to meanings
-material choice is part of the design process
-intelligent materials:
1. the sensitive materials that gather data around the environment;
2. the active materials;
3. the adaptive materials;
4. those materials that learn and select from the way in which they will react.
TECHNIQUES
-new digital technologies
-seeks exuberance in the use of building techniques, angles, and stylistic references.
-materiality of the skin
ARCHITECTS
-Michael Graves, Philip Johnson, Robert Venturi
BUILDINGS
-Michael Graves' Portland Building in Portland, Oregon
-Philip Johnson's Sony Building (originally AT&T Building) in New York City
-Piazza d'Italia by Charles Moore
SOCIO-ECONOMIC AND CULTURAL CONTEXT
“TRANSCRIPTION” OF VALUES AND PRINCIPLES INTO FORMAL PROPOSITIONS AND CONSTRUCTION METHODS
-borrows elements and references from the past and reintroduces color and symbolism to architecture
-the design of architectural forms is being perceived as the analogous of the genetic process
DECONSTRUCTION:
VALUES
-influenced by Russian Constructivism (1920) and by the works of the French philosopher Jacques Derrida
HUMAN BEING
-gathering of genetic information and data that control the evolution of life
ARCHITECTURE
-non-Euclidian
-chaos
-distortion of architectural elements
-the building as an artifact
MATERIALS
-the grill; layers
TECHNIQUES
-Deconstructive buildings may seem to have no visual logic. They may appear to be made up of unrelated, disharmonious abstract forms.
-fractals
ARCHITECTS
-Peter Eisenman, Bernard Tschumi, Daniel Libeskind, Jacques Derrida (philosopher), Zaha Hadid, Frank Gehry, Coop Himmelb(l)au, Rem Koolhaas, Herzog and De Meuron
BUILDINGS
-Parc de la Villette – Paris (1982), Wexner Center for the Arts - Columbus - Ohio, Imperial War Museum North – Manchester, dancing House in Prague, Seattle Public Library
SOCIO-ECONOMIC AND CULTURAL CONTEXT
“TRANSCRIPTION” OF VALUES AND PRINCIPLES INTO FORMAL PROPOSITIONS AND CONSTRUCTION METHODS
-controlled chaos, the dream of pure form has been disturbed
-the vague space
-the grill
-simultaneous presence
-layers of physical and cultural archaeologies at each site
DIGITAL:
VALUES
-immaterial, hybrid, composite, in-between, mutable
-the building is a living being
HUMAN BEING
-unique and independent, mutable
ARCHITECTURE
-living architecture
-a material art
MATERIALS
-diminution of the distinction between load-bearing and non load-bearing building materials
-the integration of the creation of a material in the design process
-experimentation in the material
-use of new materials produced through new digital production technologies
-‘genetic material’ of the form
TECHNIQUES
-new digital production technologies
-rainscreen cladding
ARCHITECTS
-Peter Eisenman, Greg Lynn, UN Studio, MVRDV
BUILDINGS
-Silodam in Amsterdam
SOCIO-ECONOMIC AND CULTURAL CONTEXT
-global warming
-sustainability of resources
“TRANSCRIPTION” OF VALUES AND PRINCIPLES INTO FORMAL PROPOSITIONS AND CONSTRUCTION METHODS
-immaterial, hybrid, composite, in-between, mutable
-the building is a living organism; as an artifact, it manifests its new relationship and admiration to the natural, the living, the alive
-skin is the new space
-fractals, holograms
TH02 Intellectual Systems and the Materiality of Architecture
Prof. PhD. Maria Voyatzaki
Arch. Sidonia Teodorescu
Architecture and materiality
Intellectual system:
BEFORE MODERN:
VALUES
-formalism
-the Da Vincian figure (The Vitruvian man) becomes the rule, the order and the reference for the beauty of a form
-ornaments
-Renaissance
-natural beauty
-elegance
HUMAN BEING
-the human = a divine image, a model, an ideal, an exemplar
ARCHITECTURE
-hybrid ornamentation
-Beaux-Arts
MATERIALS
-wood, baked and compressed earth, masonry, brick, stone, metals, reed
-limestone, marble
TECHNIQUES
-resistant structures
-equilibrium of forces
-stability, solidity
-vaults
-timber barns
-brickwork
ARCHITECTS
-Vitruvius, Leon Battista Alberti, Leonardo da Vinci, Michelangelo Buonarroti, Andrea Palladio
BUILDINGS
- Stonehenge, the Egyptian Pyramids, the Doric temple, Collosseum, the Gothic cathedral, The Sistine Chapel, San Pietro Cathedral -Rome, the Chambord castle, Villa Rotonda, Taj Mahal, the Louvre
SOCIO-ECONOMIC AND CULTURAL CONTEXT
-Christianity
-Absolutism
-Renaissance
“TRANSCRIPTION” OF VALUES AND PRINCIPLES INTO FORMAL PROPOSITIONS AND CONSTRUCTION METHODS
-formalism
-confidence and serenity
MODERN:
VALUES
-democracy
-standardization
-clarity, purity and honesty
-function
-system
HUMAN BEING
-modular
-optimum expression of functionality and of the Ideal Machine
ARCHITECTURE
-linear
-pilotis
-flat roof
-free plan
-absence of ornament
-The international Style
MATERIALS
-reinforced concrete
-steel, iron, glass
-bearing and non-bearing materials
-mass produced elements
-minimal and true use of material
TECHNIQUES
-frames; skeleton and skin; brickwork
-repetition
-economy of material and equilibrium
-truth to material
ARCHITECTS
-Viollet-le-Duc, Victor Horta, Otto Wagner, Louis Henri Sullivan, Charles Rennie MacKintosh, Antoni Gaudi, Antonio Sant’Elia, Adolf Loos, Auguste Perret, Le Corbusier, Mies van der Rohe, Frank Lloyd Wright, Walter Gropius, Alvar Aalto, Marcel Breuer, Jorn Utzon, Marcel Iancu, Horia Creanga, Oscar Niemeyer
BUILDINGS
-Brooklyn Bridge, Crystal Palace, Eiffel’s Tower, Villa Savoye - Poissy, Unité d’Habitation – Marseille, Casa Milà – Barcelona, Brasilia Cathedral, Technology Institute of Illinois, Seagram Building – New York, Johnson Building, Guggenheim Museum – New York, German Pavilion in Barcelona Exhibition (1929), Tugendhat Villa, Sydney’s Opera House
SOCIO-ECONOMIC AND CULTURAL CONTEXT
-The two World Wars, The World Economic Crisis
“TRANSCRIPTION” OF VALUES AND PRINCIPLES INTO FORMAL PROPOSITIONS AND CONSTRUCTION METHODS
-"function follows form", the function should be clearly expressed,"purism", "fidelity for the used materials”
-standardization; industrial methods of building
-internationalisation
-“The Architect is a carpenter who learned Latin” (Adolf Loos)
-material efficiency
-structure=architecture
-transparency
-monolithic construction
-the cult of everyday
POST-MODERN:
VALUES
-need for collective memory references
HUMAN BEING
-expressive skin of the social and cultural body
ARCHITECTURE
-the elevation is an intelligent façade or skin, which reacts dynamically to stimuli
-"Neo-eclectic", where reference and ornament have returned to the facade, replacing the aggressively unornamented modern styles
MATERIALS
-materiality of the non-load bearing elements, which become the building elements capable of alluding to meanings
-material choice is part of the design process
-intelligent materials:
1. the sensitive materials that gather data around the environment;
2. the active materials;
3. the adaptive materials;
4. those materials that learn and select from the way in which they will react.
TECHNIQUES
-new digital technologies
-seeks exuberance in the use of building techniques, angles, and stylistic references.
-materiality of the skin
ARCHITECTS
-Michael Graves, Philip Johnson, Robert Venturi
BUILDINGS
-Michael Graves' Portland Building in Portland, Oregon
-Philip Johnson's Sony Building (originally AT&T Building) in New York City
-Piazza d'Italia by Charles Moore
SOCIO-ECONOMIC AND CULTURAL CONTEXT
“TRANSCRIPTION” OF VALUES AND PRINCIPLES INTO FORMAL PROPOSITIONS AND CONSTRUCTION METHODS
-borrows elements and references from the past and reintroduces color and symbolism to architecture
-the design of architectural forms is being perceived as the analogous of the genetic process
DECONSTRUCTION:
VALUES
-influenced by Russian Constructivism (1920) and by the works of the French philosopher Jacques Derrida
HUMAN BEING
-gathering of genetic information and data that control the evolution of life
ARCHITECTURE
-non-Euclidian
-chaos
-distortion of architectural elements
-the building as an artifact
MATERIALS
-the grill; layers
TECHNIQUES
-Deconstructive buildings may seem to have no visual logic. They may appear to be made up of unrelated, disharmonious abstract forms.
-fractals
ARCHITECTS
-Peter Eisenman, Bernard Tschumi, Daniel Libeskind, Jacques Derrida (philosopher), Zaha Hadid, Frank Gehry, Coop Himmelb(l)au, Rem Koolhaas, Herzog and De Meuron
BUILDINGS
-Parc de la Villette – Paris (1982), Wexner Center for the Arts - Columbus - Ohio, Imperial War Museum North – Manchester, dancing House in Prague, Seattle Public Library
SOCIO-ECONOMIC AND CULTURAL CONTEXT
“TRANSCRIPTION” OF VALUES AND PRINCIPLES INTO FORMAL PROPOSITIONS AND CONSTRUCTION METHODS
-controlled chaos, the dream of pure form has been disturbed
-the vague space
-the grill
-simultaneous presence
-layers of physical and cultural archaeologies at each site
DIGITAL:
VALUES
-immaterial, hybrid, composite, in-between, mutable
-the building is a living being
HUMAN BEING
-unique and independent, mutable
ARCHITECTURE
-living architecture
-a material art
MATERIALS
-diminution of the distinction between load-bearing and non load-bearing building materials
-the integration of the creation of a material in the design process
-experimentation in the material
-use of new materials produced through new digital production technologies
-‘genetic material’ of the form
TECHNIQUES
-new digital production technologies
-rainscreen cladding
ARCHITECTS
-Peter Eisenman, Greg Lynn, UN Studio, MVRDV
BUILDINGS
-Silodam in Amsterdam
SOCIO-ECONOMIC AND CULTURAL CONTEXT
-global warming
-sustainability of resources
“TRANSCRIPTION” OF VALUES AND PRINCIPLES INTO FORMAL PROPOSITIONS AND CONSTRUCTION METHODS
-immaterial, hybrid, composite, in-between, mutable
-the building is a living organism; as an artifact, it manifests its new relationship and admiration to the natural, the living, the alive
-skin is the new space
-fractals, holograms
Tuesday 10 February 2009
Thursday 5 February 2009
table
Dear professor Maria Voyatzaki,
I sent to you the table on e-mail address. I will try to submit it to the Blog for see all the participants.
As we discussed in last e-mail, it would be useful to my doctorate to work on
the pre-modern era.
Please inform me what is the next?
As you informed yet, our course has to be completed by the end of February.
What must contents the final paper that we must prepare for the finish of this course?
When is the dead line for it?
Best regards,
Ioana Urdea
I sent to you the table on e-mail address. I will try to submit it to the Blog for see all the participants.
As we discussed in last e-mail, it would be useful to my doctorate to work on
the pre-modern era.
Please inform me what is the next?
As you informed yet, our course has to be completed by the end of February.
What must contents the final paper that we must prepare for the finish of this course?
When is the dead line for it?
Best regards,
Ioana Urdea
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