Perspective introducing the light project
"Plus claire la lumière, plus sombre l'obscurité... Il est impossible d'apprécier correctement la lumière sans connaître les ténèbres"
Eduardo Chillida, 1968.
Phase 3 Planes
Exercise 2 - The tectonic and the stereotomic
“Tectonics is defined as "the science or art of construction, both in relation to use and artistic design." It refers not just to the "activity of making the materially requisite construction that answers certain needs, but rather to the activity that raises this construction to an art form." It is transcending the banality of mere building by the modeling of a physical thing which reveals a conscious attempt by the architect to "tell a story": bringing the physical into the meta-physical world. Tectonic expression concerns itself with the narrative capacity of a building, primarily with respect to itself, but also as part of a more general circumstance (physical, social, political, economic etc.).”
Robert Maulden, Tectonics in Architecture: From the Physical to the Meta-Physical.
“The wall to a room therefore is different from a piece of masonry; flat and thin, the wall possesses neither substance nor relief and thus creates no sense of depth. Contrary to this, masonry reacts on both of its sides and establishes both internal and external boundaries, here and there. As an independent architectural element it has the inherent capability to enclose and define – and thus create – space. A wall, however, is inevitably joined to a floor and a ceiling, or an underlying supporting construc- tion, and in essence relies on the spatial transitions for its existence. In terms of these characteristics a wall belongs to the category of filigree construction (in traditional frame construction apparent as the infilling), whereas masonry is considered to be an element of solid construction. In the German language, the difference between filigree construction and solid construction, tectonics and ster- eotomy, is accentuated by a linguistic differentiation: “This tectonic/stereotomic distinction was reinforced in German by that language’s differentiation between two classes of wall; between die Wand, indicating a screen-like partition such as we find in wattle and daub infill construction, and die Mauer, signifying massive fortification.”
Cordula Seger, The Wall, in Constructing Architecture: Materials, Processes, Structures.
Select two planes -one horizontal, and one vertical- of your casted space that you think are relevant to define a spatial condition of this space. The two planes selected should be touching each other. Consider them as the starting point for your project. Find a position for them in the protostructure that activates new relations or potentiate existing ones. Develop the tectonic relation among the two planes and also with the protostructure. Use a stereotomic approach for one plane and a tectonic approach for the other. Explore the articulation and transition between one plane and the other. It is suggested to explore the use of your “element” or any element found in ALICE for defining a constructive ADN for the tectonic plane.
The initial planes could (should) be modified when translated into a built reality. They could be scaled on any dimension and split if justified. It can have openings.
Explore not only the material transition between the planes, but also between the spaces created by the planes
Be aware that the protostructure is very unstable, use your project as a mean for stabilization. You can also add extra elements for stabilization purposes if needed. Carefully distribute the weight of the plaster so it helps to stability.
Model scale 1:20. Use plaster + wood + (cardboard or plywood, not both)
Friday 25th Nov 13 hrs. desk critique in model (quick and dirty)
Monday 28th Nov 9 hrs. model 1:20.
Blog your work and use the tags, P3-E2, PLANES and processus.
The reverse perspective
We had to imagine what is not drawn in the painting
to create a space and deduce the plan and the section.
The mould and the plaster
the cardboard as surface.