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Relational Logics – T6

wallhouse7

 

 

In ordinary architecture, our world is arranged to the word “function”, divided into black and white. Life is sustained by the acts that lie between them, as Sou Fujimoto explains in his text Primitive Future. The opposite realities of the prime states of architecture are the nest and the cave. The nest is a “functional place” built as a hospitable arrangement to satisfy the prior needs of the people or animals and the cave is the result of a natural accident whether it is hospitable or inhospitable to the people, although the nest and the cave look similar, they are opposite concepts.

For instance, between inside and outside, between nature and artifice, space cannot instantaneously switch from one to another but the space lies in the gradation that exists between them creating a whole new diversity of concepts giving architecture a new world of possibilities. Different gradations create different types of experience in the transition from A to B, nest to cave, nature to architecture.

Like a “hazy area”, the ideal architecture is a place where inside and outside merge. As a sense thought of as the ultimate architecture, it can be called only in-between where all places are connected and are simultaneously detached creating an infinite range of conditions that lie between detachment and connection.

For example, the Wall House by Frohn and Rojas, is a house where the wall, as a complex membrane, structure our social interactions breaking down the traditional walls of a house into different layers where you can see the two opposite concepts of artifice and nature, you can see the gradation from private to public, starting with the concrete cave, stacked shelving, milky shell to the soft skin, creating different atmospheric environments connecting nature but also isolate from nature. It’s a hybrid on internal-private and external-public environment creating a blurred connection of layers as you go inside “the cave”, it is more detached from nature.

As a detached-fit, architecture is simultaneously a connected-fit. The relational logics are systems of interaction, connection and alterations in the experience that happens in the experience of “in-between” architecture creating an infinite range of conditions that lie in between them. Therefore the concept of architecture is a new existence possessing the diversity of nature and the lucidity of artifice.

Sustainable architecture, more than a tendency, is a great need nowadays and in the future. For me, this is a very important topic that I want to study. Understanding the negative environmental impact of the buildings will help me to research new systems and efficient ways of the use of materials, energy and the right development of space.

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Relational Logics_T6

city as house

Case Study: Wall House – FAR Architects

Text: “Primitive Future” – Sou Fujimoto

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Relational Logics in Advanced Architecture

                                                                                                                                                                                                                                                                                                             Untitled

Relational Logics. T3.

Case Study – The View House. Diego Arraigada & Johnston Marklee

Critical Reading – Mark Wigley, “The Architecture of Atmosphere”, in Daidalos 68, July 1998, pp. 18-27

Relational logic in advanced architecture can be expressed as a natural relationship, cultural/social/territorial relationship and Informational/Digital relationship. These can be further defined as positional, metaphorical, atmospherical, intangible, disturbed and environmental relations.

The View house by Diego Arraigada &Johnston Marklee is an example where such relations can be identified as a positional response.

The form also expresses a metaphorical response to the imagery aspect of the context.The form here captures the frame the context in a very metaphorical manner, in a way trying to be in balance with the context. But is it in some way reaching to capture the atmosphere?

“The concept of atmosphere troubles architectural discourse- haunting those that try to escape it and eluding those that chase it.” – Mark Wigley.  The Architecture of Atmosphere.

Architecture has always been a response to the context/variables. It can hold, reflect and sometimes even mould the context. It can capture energy but it cannot capture the atmosphere. Atmospheres being complexly individualized, a collective responsive to it, in terms of architecture is a fragile illusion.

Advanced Architecture is highly reflecting the need of information. Such information can only be acted upon with relations. These relations are the grammar of advance architecture. Using information without such grammar is just irrelevant alphabets.  It helps create a complex network on which form can evolve, such complexity helps formulate reasons. And thus relational logics have a very primary role in building advanced architecture.

 

Research topic – Smart assembly systems as a response to the limitation of machine sizes in fabrication.

Understanding the difference between material and machines.

How can assembly, material and machines be unified into a singular system?

Can such system be a real time data driven response to every parameter?

And thus can it be an optimized response to all the relational logics?

         

 

 

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Relational Logics / T4

Moriyama House

Case Study: Moriyama House / Ryue Nishizawa

Reading Text: Cooking, Yo-ing, Thinking / Sanford Kwinter

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Relational Logics – T1

Relational Logics - T1

Case study:                    Studio House. F451 Arqu itectura

Critical reading:        Bernard Rudofsky, “Conditioned Outdoor Room”

The Studio House was built in 2012-2013 in Gijon, Spain by the architecture firm “F451 Arquitectura”. It is composed of four independent but unified units which are the guest apartment, the atelier, the garage and the house. By merging the different functions, the architects ensured that the spaces would have a double orientation, light and ventilation thus highlighting the energy efficiency of the construction. The center exterior covered space serves as a climate regulator and it is the place where programs can relate together. As well, another consideration taken in the design process was the integration of the studio house with the landscape; while some might argue that the “Studio House” is enclosed and has no relation to the outside since there are no obvious views of the surrounding nature, i believe the relation is successful and it is mostly apparent by the way the guest house roof emerges from the landscape. It is not necessary to draw an obvious connection to nature, it is rather the feeling we have while experiencing the spaces inside the house, weather we are under the landscape or above it. Moreover, we notice that this change in the relationship of the construction with the ground varies according to the plan which consists of two different typologies; the modern house and the industrial warehouse.

The “Conditioned Outdoor Room” was written in 1955. The main point of the author Bernard Rudofsky is that the contemporary garden remains unoccupied and is considered-that is if there is one- as a transition space between the house and the street, while the domestic gardens of the past where a private habitable place considered as an outdoor living room which was a luxury to have. In a world where people try to control the climate and nature in every possible way, where maybe permanent underground and indoor life is a possibility, Rudofsky clarifies that the climate is not just the air we breathe, but it is the color of our skin, our mood, our energy… Despite the numerous efforts men has put into trying to control the climate, they never surpassed the indoors, which according to Rudosfsky seems as a failure. His solution is much simpler; “it is but a question of making oneself at home out of doors.” thus his belief in the need of a garden, “an object of excessive care”. This necessity is the result of people’s need to behave as if they are in their living room, yet they get added beauties such as the fresh air, the light, the smell of nature, the sun, the wind etc. Rudosfky gave as example of the perfect outdoors Guinea, which has a very good climate, and Pompeii which is a “spa for neutralizing the acidity of sour minds”. The gardens are created by the spaces enclosed by walls, which Rudofsky sees as “space on a human scale”, an invention that was not credited enough.

The “Conditioned Outdoor Room” and the “Studio House” can be compared on different levels. We notice the main common point in both texts involves the approach and sensitivity to nature. In the “Studio House”, the double orientation is the result of the way the architect placed the walls, showing a sort of positional relations since proximity is very important to create this angle between the walls. In the “Conditioned Outdoor Room”, we see a similar relation when Rudofsky gives importance to the wall positioning and the space it creates; the garden. As well, we can somehow relate to the metaphorical relations in both texts. In the “Studio House”, we notice a metaphorical geographical and landscape relation rather than the typical branching system relation. The guest house emerges from the ground to branch into two different spaces; the house and the atelier. In the “Conditioned Outdoor Room”, the garden is considered as an outdoor living room, which is part of the house composed of several rooms, where each branch represents a room. All interrelate together.

The possible topic for my personal research could be related to the environmental relations discussed in advanced architecture theory class. While being energy sufficient, I believe that the functions distributed on different levels can create interesting spaces and emphasize the transition from one room to another giving importance to even the simplest functions such as the laundry room. I envision an interesting combination with a disturbing relation; with the vertical gradient of the functions on different levels, the gradient can also become a horizontal one where the transition between a room and the street becomes blurry without clear borders, where the indoor becomes the outdoor and vice versa.

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