they only end when other things begin

grid = a rubrik of sorts, right? how is this 'potentially boundless' if its invention is intended to narrow the spaces in which one can construct.

!!!!

!!!!! like the chapter of 'Notre Dame de Paris' - "“Le livre tuera l’édifice.” “The book will kill the building.”

be open to accidents proving useful to the design process

yeessss

shift in consciousness, in what it means for certain things to represent different things than what we're used to

perspective

theft?

.

metaphor - a figure of speech in which a word or phrase is applied to an object or action to which it is not literally applicable

metonymy - the substitution of the name of an attribute or adjunct for that of the thing mean

hyperbole - exaggerated statements or claims not meant to be taken literally

irony - the expression of one's meaning by using language that normally signifies the opposite, typically for humorous or emphatic effect

personification - the attribution of a personal nature or human characteristics to something nonhuman, or the representation of an abstract quality in human form

how so?

you know what is tall because it is next to something short, etc.

!!

!!!

yes!!! the inhabitant, the visitor, has as much agency in the construction of the building's narrative as the architect themselves.

its not about constructing something that has a permanent narrative and purpose, more-so to allow the structure itself to evolve and be redefined over and over and over

reframing a narrative cool!

privatisation of architecture as a means of preserving a single narrative - how sustainable is this for the continuation of architecture as a practice of representation of various ideals and interpretations?

examples??

not just about the present, or about what the work represented at a certain moment in time; a fluidity of interpretation that continues as time passes

CAN WE TALK ABOUT THIS PLEASE!!!

fascinating!

is all architecture dynamic?

another example of the expansive, developmental process of architecture that proceeds construction

an* (?)

casa leite faria (!!!) - personal favourite, beautiful blend of wood and concrete

like Brasilia, (1956, Lúcio Costa, Oscar Niemeyer) grandiose concept from above, but not quite as successful at the street view

how might this bring one further or closer to a project? if one's goal is to think of the structure as an extension of the ground, what materials might one use? how would one begin to see structures as a whole after such a project?

Can include the agricultural history and the land history which can shape a building's conception, as the land on which it is built has histories, cultures, and stories buried in it

reminds me of the Seagram building, learning about the environmental impact that resulted from the resources used for its construction

fascinating how one work of architecture can inspire an entire city to rethink and shape itself in a similar fashion.

public and private space combines

requires a LOT of thinking, consideration of those beyond one's personal scope

importance of breath of knowledge - as the client may describe what they wish their structure to look like or be composed of, the architect must call on their knowledge, their experience, other buildings, poems, artworks, with which they can begin to conceptualise the client's ideas

this made me aware of the rippling effects of architecture & construction - it is a simple process, but involves the landscape on which it is built, as well as neighbours that may inhabit that land

why?

reminded me of the dorm room as multifunctional? what functional elemnts make it so? thinking back to the quarantine period, for example, how was the space and the furnishings available to us help to create multifunctional space? how was it disfunctional? what could change?

we often think of buildings as these permanent, unmoving structures but i feel that this text begs to differ - architectural structures are here indicated as ever-changing, adapting to growth, to accommodation of vehicles, of "things" and the presence of other people

private space division

i look at elevators as a kind of 'in-between' space, one that takes a person from one space to another - its function here as both form of transportation and permanent room is interesting

interesting use of the word invisible, as it alludes to glass being as close as one can get to the concept of nothingness. How may this aid The Bordeaux House's architectural concept and program?

the building is a force that works in tandem with social and political climates in which it is situated, it is a space that may encompass or oppose ideals, that may bend to accommodate them or swerve to avoid them. For example, the new parliament building that is under construction in Zimbabwe is 30+ minutes away from the centre of town - this (in my humble opinion) blatant position of distance from the city centre and its citizens (1/3 of whom are struggling financially and/or are food insecure) allows for the decisions that impact the citizens to be made so far from them that their considerations do not stand in the way of lawmakers' decisions.

what is the connotation of the word 'comfortable' here? how could one create a space that is contradictory of comfort, that deigns to build outside of the norm and what kind of reaction, fear or discomfort could come from it? what does it mean to create a comfortable space, and why is it that one must be comfortable? i daresay it is worth considering what accommodations we make to suit our comforts rather than attempt to challenge them through architectural design

and aware of the way the building will accommodate the bodies - how will one feel upon entering different spaces, or structures? what elements contribute to one's impression of a structure?

the spaces we create and inhabit are reflections of our own ideas, creations made to accomodate the human body - from its perspective. anthropocentric? perhaps.

what architectural elements of the arch indicate its association to triumph? how do the shapes, materials, and engravings contribute to its interpretation as a monument?

Chapter 1 - Analysis

Analysis = an investigation organized to ucover what may have been the strategies for a project’s design “…most everything has already been done” -> re-interpreting designs and buildings is where originality lies in arc Project Givens

2 circumstances necessary for the design process : Givens Project criteria, e.g. use of specific materials, the site cultural conventions, etc. How The Architect Contributes to the Givens The interpretation of the necessary elements of a project, its landscape and history, as well as its material makeup and how the architect’s own life, experience, history, life, add to the project and interpret it in a new way Analysis - how the architect explores + forms a relationship w the project givens Precedent

IT IS IMPERATIVE that every architect honors what and who came before them. These buildings, people, and structures are what guide us toward new projects Architects transform reality, they don’t actually invent anything “Transformations that increasingly abstract and distill the fundamental characteristics of a source that are relevant to the problem at hand” Interpretation of fundamental elements of an original concept to adapt it to design problems of current project Precedents inform a project, its internal and external operations, and there are often more than one in every design Abstraction

Goal of analysis is to see what potential a design has to inspire more designs Drawing from a precedent/given and seeing what makes it different from other works Components, Or Breaking Down Into Parts

Overlapping systems make up a work of architecture Unpack the systems into a series of multiple diagrams is how we ar able to see the elements of each system Systems : structure, circulation, exterior envelope/membrane, major v. minor, public v. private space, solid v. void, repetitive v. unique, supportive space, geometric order (what connects the systems) We understand the whole by shifting and overlapping the individual systems Diagramming

“abstracting/simplifying an idea so that it can be easily understood” Recording physical + spacial characteristics How we understand and get comfortable w circumstances of a design projects Goal is CLARITY Analyses the historical, reveals the ephemeral, historical & infrastructural Looking at a project from different perspectives to get a better understanding of it Bringing together elements that seemed unrelated IDENTITY of a project INTERPRETATION

Different boundaries/ parameters applied to the diagrams allow for interpretation Intermediary Device

pre-architectural, an artifact that is open to interpretation that comes about through analysis Potential concepts of new project It is a go-between, linking the precedent - in its concept but not necessarily in original parameters - with the new design Co-Authorship

Analysis involves “deep reading” , asking questions, and revealing elements about a projects potential at all times Analysis does not aim to solve but to reveal Analysis is co-authorship as one is working in tandem with the original designers of a project that came before Moretti

Industrial north Classicism Roman architect named Luigi Moretti, had magazine called Spazio where he conducted analyses of works of art and architecture Essays that actively “draw the reader” into conversation w the works he is analyzing “Eclecticism..is a necessity in a complex, multicultural, world” Fluid forms help to guide the eye, he was fascinated by movement within spaces & forms Moldings allow a building to change as the day progresses, as shadows and light help to give the impression of shifting form Buildings are not static!! After and during their construction they are constantly interacting with their site, landscape, climate, and occupants!! Chapter 2 - Concept

What It Is and What It Does

Concept is a way of thinking about a design problem that initiated the action of design Versus Ideas

Concept starts with an idea Must eventually become an obervation, it has to suggest something - “ideas elevated to the level of architectural concepts” And Flexibility

Nucleus of a design, but has to remain flexibly for change as the project grows & evolves The Sketch

First step in concept solidification is to draw or do a sketch model Makes up the goals/rules The Thumbnail Sketch

Small, reduction of concept to essential elements Essential objectives of the design Conceptual Sketches

Abstract + form in conversation Repetition + reiteration -> increased specificity The Overlay

Tracing paper Layering information Renewed imagery of project Shifts focus Records various stages of the design process The Sketch Model

Relief + concept models, 3D Relief Models

Cut from paper which is molded Shows engagement w the land, perspective view + light patterns Material Models

Cardboard, metal, clay, plastics Relationship of materials Density, transparency, reflection, erosion, stretching, bending, etc. Not meant as realistic representations of a design And Otherwise

Parti/parti pris - to take a position After concept is defined Diagram that outlines he design strategy Mostly abstract Sverre Fehn

Metaphysical relationship between man and world, buildings are a way of understanding the vastness of the world in relation to the human experience

Nature + Artifice in constant conversation in is work,

Movement along a certain part if the building makes one’s relationship with the very materials of which it is made ip “The essence of the project lies in the dialogue that is established between the carefully calibrated and precisely constructed ‘present’ as it is juxtaposed onto the irregular archeological ground of history”

Glacier Museum - 1989-91

A space between the sky an the ground Nordic Pavillion - 1958-62

• construction of light via bride-soleil

Chapter 3 - Representation

Architects don’t build, they make the drawings from which buildings are made

Representational tools like models, drawings etc.

Developing the concept Tools

Paper - renaissance, pen and ink, stream of consciousness Primary media for representation of concepts Analog

Archaeology of lines Significance in how heavy/light a line is Weight of lines helps construct space

Chapter 1 - Analysis

• Analysis = an investigation organized to ucover what may have been the strategies for a project’s design
• “…most everything has already been done” -> re-interpreting designs and buildings is where originality lies in arc

Project Givens

• 2 circumstances necessary for the design process :
  • Givens
    • Project criteria, e.g. use of specific materials, the site cultural conventions, etc.
  • How The Architect Contributes to the Givens
    • The interpretation of the necessary elements of a project, its landscape and history, as well as its material makeup and how the architect’s own life, experience, history, life, add to the project and interpret it in a new way
• Analysis - how the architect explores + forms a relationship w the project givens

Precedent

• IT IS IMPERATIVE that every architect honors what and who came before them. These buildings, people, and structures are what guide us toward new projects
• Architects transform reality, they don’t actually invent anything
• “Transformations that increasingly abstract and distill the fundamental characteristics of a source that are relevant to the problem at hand”
  • Interpretation of fundamental elements of an original concept to adapt it to design problems of current project
• Precedents inform a project, its internal and external operations, and there are often more than one in every design

Abstraction

• Goal of analysis is to see what potential a design has to inspire more designs
  • Drawing from a precedent/given and seeing what makes it different from other works

Components, Or Breaking Down Into Parts

• Overlapping systems make up a work of architecture
• Unpack the systems into a series of multiple diagrams is how we ar able to see the elements of each system
• Systems :
  • structure, circulation, exterior envelope/membrane, major v. minor, public v. private space, solid v. void, repetitive v. unique, supportive space, geometric order (what connects the systems)
• We understand the whole by shifting and overlapping the individual systems

Diagramming

• “abstracting/simplifying an idea so that it can be easily understood”
• Recording physical + spacial characteristics
  • How we understand and get comfortable w circumstances of a design projects
  • Goal is CLARITY
• Analyses the historical, reveals the ephemeral, historical & infrastructural
• Looking at a project from different perspectives to get a better understanding of it
• Bringing together elements that seemed unrelated
• IDENTITY of a project

INTERPRETATION

• Different boundaries/ parameters applied to the diagrams allow for interpretation

Intermediary Device

• pre-architectural, an artifact that is open to interpretation that comes about through analysis
• Potential concepts of new project
• It is a go-between, linking the precedent - in its concept but not necessarily in original parameters - with the new design

Co-Authorship

• Analysis involves “deep reading” , asking questions, and revealing elements about a projects potential at all times
• Analysis does not aim to solve but to reveal
• Analysis is co-authorship as one is working in tandem with the original designers of a project that came before

Moretti

• Industrial north
• Classicism
• Roman architect named Luigi Moretti, had magazine called Spazio where he conducted analyses of works of art and architecture
• Essays that actively “draw the reader” into conversation w the works he is analyzing
• “Eclecticism..is a necessity in a complex, multicultural, world”
• Fluid forms help to guide the eye, he was fascinated by movement within spaces & forms
  • Moldings allow a building to change as the day progresses, as shadows and light help to give the impression of shifting form
  • Buildings are not static!! After and during their construction they are constantly interacting with their site, landscape, climate, and occupants!!

Chapter 2 - Concept

What It Is and What It Does

• Concept is a way of thinking about a design problem that initiated the action of design

Versus Ideas

• Concept starts with an idea
  • Must eventually become an obervation, it has to suggest something - “ideas elevated to the level of architectural concepts”

And Flexibility

• Nucleus of a design, but has to remain flexibly for change as the project grows & evolves

The Sketch

• First step in concept solidification is to draw or do a sketch model
• Makes up the goals/rules

The Thumbnail Sketch

• Small, reduction of concept to essential elements
• Essential objectives of the design

Conceptual Sketches

• Abstract + form in conversation
• Repetition + reiteration -> increased specificity

The Overlay

• Tracing paper
• Layering information
• Renewed imagery of project
• Shifts focus
• Records various stages of the design process

The Sketch Model

• Relief + concept models, 3D

Relief Models

• Cut from paper which is molded
• Shows engagement w the land, perspective view + light patterns

Material Models

• Cardboard, metal, clay, plastics
• Relationship of materials
• Density, transparency, reflection, erosion, stretching, bending, etc.
• Not meant as realistic representations of a design

And Otherwise

• Parti/parti pris - to take a position
• After concept is defined
• Diagram that outlines he design strategy
• Mostly abstract

Sverre Fehn

• Metaphysical relationship between man and world, buildings are a way of understanding the vastness of the world in relation to the human experience
• Nature + Artifice in constant conversation in is work,
  • Movement along a certain part if the building makes one’s relationship with the very materials of which it is made ip
• “The essence of the project lies in the dialogue that is established between the carefully calibrated and precisely constructed ‘present’ as it is juxtaposed onto the irregular archeological ground of history”
• Glacier Museum - 1989-91
  • A space between the sky an the ground
• Nordic Pavillion - 1958-62
• • construction of light via bride-soleil

Chapter 3 - Representation

• Architects don’t build, they make the drawings from which buildings are made
• Representational tools like models, drawings etc.
  • Developing the concept

Tools

• Paper - renaissance, pen and ink, stream of consciousness
• Primary media for representation of concepts

Analog

• Archaeology of lines
• Significance in how heavy/light a line is
• Weight of lines helps construct space

Chapter 1 - Analysis

• Analysis = an investigation organized to ucover what may have been the strategies for a project’s design
• “…most everything has already been done” -> re-interpreting designs and buildings is where originality lies in arc

Project Givens

• 2 circumstances necessary for the design process :
  • Givens
    • Project criteria, e.g. use of specific materials, the site cultural conventions, etc.
  • How The Architect Contributes to the Givens
    • The interpretation of the necessary elements of a project, its landscape and history, as well as its material makeup and how the architect’s own life, experience, history, life, add to the project and interpret it in a new way
• Analysis - how the architect explores + forms a relationship w the project givens

Precedent

• IT IS IMPERATIVE that every architect honors what and who came before them. These buildings, people, and structures are what guide us toward new projects
• Architects transform reality, they don’t actually invent anything
• “Transformations that increasingly abstract and distill the fundamental characteristics of a source that are relevant to the problem at hand”
  • Interpretation of fundamental elements of an original concept to adapt it to design problems of current project
• Precedents inform a project, its internal and external operations, and there are often more than one in every design

Abstraction

• Goal of analysis is to see what potential a design has to inspire more designs
  • Drawing from a precedent/given and seeing what makes it different from other works

Components, Or Breaking Down Into Parts

• Overlapping systems make up a work of architecture
• Unpack the systems into a series of multiple diagrams is how we ar able to see the elements of each system
• Systems :
  • structure, circulation, exterior envelope/membrane, major v. minor, public v. private space, solid v. void, repetitive v. unique, supportive space, geometric order (what connects the systems)
• We understand the whole by shifting and overlapping the individual systems

Diagramming

• “abstracting/simplifying an idea so that it can be easily understood”
• Recording physical + spacial characteristics
  • How we understand and get comfortable w circumstances of a design projects
  • Goal is CLARITY
• Analyses the historical, reveals the ephemeral, historical & infrastructural
• Looking at a project from different perspectives to get a better understanding of it
• Bringing together elements that seemed unrelated
• IDENTITY of a project

INTERPRETATION

• Different boundaries/ parameters applied to the diagrams allow for interpretation

Intermediary Device

• pre-architectural, an artifact that is open to interpretation that comes about through analysis
• Potential concepts of new project
• It is a go-between, linking the precedent - in its concept but not necessarily in original parameters - with the new design

Co-Authorship

• Analysis involves “deep reading” , asking questions, and revealing elements about a projects potential at all times
• Analysis does not aim to solve but to reveal
• Analysis is co-authorship as one is working in tandem with the original designers of a project that came before

Moretti

• Industrial north
• Classicism
• Roman architect named Luigi Moretti, had magazine called Spazio where he conducted analyses of works of art and architecture
• Essays that actively “draw the reader” into conversation w the works he is analyzing
• “Eclecticism..is a necessity in a complex, multicultural, world”
• Fluid forms help to guide the eye, he was fascinated by movement within spaces & forms
  • Moldings allow a building to change as the day progresses, as shadows and light help to give the impression of shifting form
  • Buildings are not static!! After and during their construction they are constantly interacting with their site, landscape, climate, and occupants!!

Chapter 2 - Concept

What It Is and What It Does

• Concept is a way of thinking about a design problem that initiated the action of design

Versus Ideas

• Concept starts with an idea
  • Must eventually become an obervation, it has to suggest something - “ideas elevated to the level of architectural concepts”

And Flexibility

• Nucleus of a design, but has to remain flexibly for change as the project grows & evolves

The Sketch

• First step in concept solidification is to draw or do a sketch model
• Makes up the goals/rules

The Thumbnail Sketch

• Small, reduction of concept to essential elements
• Essential objectives of the design

Conceptual Sketches

• Abstract + form in conversation
• Repetition + reiteration -> increased specificity

The Overlay

• Tracing paper
• Layering information
• Renewed imagery of project
• Shifts focus
• Records various stages of the design process

The Sketch Model

• Relief + concept models, 3D

Relief Models

• Cut from paper which is molded
• Shows engagement w the land, perspective view + light patterns

Material Models

• Cardboard, metal, clay, plastics
• Relationship of materials
• Density, transparency, reflection, erosion, stretching, bending, etc.
• Not meant as realistic representations of a design

And Otherwise

• Parti/parti pris - to take a position
• After concept is defined
• Diagram that outlines he design strategy
• Mostly abstract

Sverre Fehn

• Metaphysical relationship between man and world, buildings are a way of understanding the vastness of the world in relation to the human experience
• Nature + Artifice in constant conversation in is work,
  • Movement along a certain part if the building makes one’s relationship with the very materials of which it is made ip
• “The essence of the project lies in the dialogue that is established between the carefully calibrated and precisely constructed ‘present’ as it is juxtaposed onto the irregular archeological ground of history”
• Glacier Museum - 1989-91
  • A space between the sky an the ground
• Nordic Pavillion - 1958-62
• • construction of light via bride-soleil

Chapter 3 - Representation

• Architects don’t build, they make the drawings from which buildings are made
• Representational tools like models, drawings etc.
  • Developing the concept

Tools

• Paper - renaissance, pen and ink, stream of consciousness
• Primary media for representation of concepts

Analog

• Archaeology of lines
• Significance in how heavy/light a line is
• Weight of lines helps construct space