Peter A. Fawcett Gönderileri
Peter A. Fawcett kitaplarını, Peter A. Fawcett sözleri ve alıntılarını, Peter A. Fawcett yazarlarını, Peter A. Fawcett yorumları ve incelemelerini 1000Kitap'ta bulabilirsiniz.Corbusier’s ‘Five Points of the New Architecture’
Consequently ‘pilotis’, ‘free facade’, ‘open plan’, ‘strip window’, and ‘roof garden’ (the five points) were instantly established as tools for form-making.
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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Although it is now unthinkable that fledgling architects could enter their profession without sophisticated levels of computer literacy, nevertheless, there is still a perception amongst many that hand drawing and physical models offer a more direct and flexible design tool than computer-generated techniques. But if the central role of the architect is to create spaces for human habitation, then it seems axiomatic that the virtual building, which provides an accurate three-dimensional representation of the designer’s concept, will allow him to understand the project more comprehensively.
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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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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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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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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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Having arrived at an appropriate structure, or set of structural systems, be they framed, planar or plastic which will allow the ‘diagram’ to develop and mature, the designer is faced with the whole question of structural expression and how this interacts with the ‘skin’ of the building.
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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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