Peter A. Fawcett Sözleri ve Alıntıları
Peter A. Fawcett sözleri ve alıntılarını, Peter A. Fawcett kitap alıntılarını, Peter A. Fawcett en etkileyici cümleleri ve paragragları 1000Kitap'ta bulabilirsiniz.
But that exploration could also heed Albert Einstein’s sage counsel:"If you wish to learn from the theoretical physicist anything about the methods he uses...don’t listen to his words, examine his achievements." The same could well apply to architecture.
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But every practising architect knew that this restrictive linearmodel of the
design process flew in the face of all shared experience; the reality of designing did not conform to a predetermined sequence at all but demanded that the designer should skip between various aspects of the problem in any order or at any time, should consider several aspects simultaneously or, indeed, should revisit some aspects in a cyclical process as the problem became more clearly defined.
Sayfa 2 - Moreover, design theorists urged designers to delay as long as possible the creative leap into ‘form-making’ until every aspect of the architectural problem.
Harnessing the climate to improve human comfort is nothing new; the Greeks and Romans well recognised the benefits of designing dwellings whose principal rooms faced south to improve thermal comfort. But in some climates, designers are met with the problem of cooling spaces to improve comfort, and here, similarly, we can look to tradition.
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Whilst this contextual ‘snapshot’ firmly articulates an orthodox modernist position, the so-called post-modern world has offered a range of alternatives borrowed from literature and philosophy which in turn has offered architects a whole new vocabulary of form-making well removed from what many had come to regard as a doctrinaire modernist position. In this new pluralist world which revealed itself in the last quarter of the twentieth century, architects found themselves consumed by a ‘freestyle’ which on the one hand in revivalist mode quarried the whole gamut of architectural history or on the other borrowed so-called ‘de-construction’ from the world of literature.
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Architects were quick to embrace techniques from other disciplines, most notably structural and mechanical engineering and applied physics to generate new building types. The development of framed and large-span structures freed architects from the constraints of traditional building techniques where limited spans and loadbearing masonry had imposed variations on an essentially cellular plan type. Now architects could plan buildings where walls and partitions were divorced from any structural intrusion.
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The virtual building
As the project develops, the virtual building allows the architect to accurately ‘test’ the three-dimensional outcomes of design decisions that affect the nature of external form, internal space, and junctions of components. Moreover, because it is represented by one model, then the need to co-ordinate several drawings is removed, and the margin for error.
Sayfa 108 - it is axiomatic that a facility for drawing most emphatically assists the design process; ‘design by drawing’, then, represents by far the most accessible and efficient method for early exploration in design.
Heroic scale is the converse of intimate scale in that rather than enhancing the ego of the user, it seems to diminish it. Architects have consistently used the monumentality of heroically scaled building elements as symbols of power and authority to which an individual is unable to relate his relative smallness. Therefore heroic scale has been consciously applied to a whole range of buildings which need to express their civic importance; in extreme cases like the monumental architecture of totalitarianism, architects used a stripped classical architectural language to symbolise the power of the regime but also to intimidate the users by undermining their feeling of security.
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Closely associated with any strategy for circulation within a building is the notion of ‘promenade’ or ‘route’. This implies an understanding of buildings via a carefully orchestrated series of sequential events or experiences which are linked by a predetermined route. How the user approaches, enters and then engages with a building’s three-dimensional organisation upon this ‘architectural promenade’ has been a central pursuit of architects throughout history.
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Shock scale is of limited use architecturally but has been put to effective use by exhibition designers or in advertising to startle and excite the observer. It depends upon familiar objects of known size being exaggeratedly expanded or reduced so that they are seen in often amusing scale relationships with their environment like a beer bottle hugely enlarged to serve as a brewer’s dray.Painters like Dali also employed the idea of shock scale for Surrealist effect.
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Just as a designer’s attitudes towards structure and how that structure is clad may profoundly affect the form-making process, so may our stance regarding environmental comfort have a powerful bearing upon that formal outcome.And just as architects harnessed new technologies of structure and construction to liberate the plan, so did an artificially controlled internal environment remove traditional planning limitations; the option now existed for creating deep-planned buildings freed from the organisational constraints of natural ventilation and lighting.
This brings us yet again to the notion of ‘type’ and its central position in the design process for not only, as previously discussed, can ‘type’ inform our attitudes towards ‘plan’ and ‘structure’, but it can also determine how the various criteria for environmental comfort are to be met.
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