final presentations :

https://www.youtube.com/watch?v=KWYrr-lnB4U&feature=youtu.be

Foto by:  CSABA DIGLICS, June 15, 2012

Case Study: “View House” by: Diego Arraigada and Johnston Marklee

Reading: “The Architecture of Atmoshpere” by: Mark Wigley

Atmosphere: Tangible or Intangible?

Is an atmosphere something that architects can construct? Is it what comes just after the physical construction and surrounds the building? Is it some sensuous emission of intangible effects? All of this doubts come to my mind when reading “The Architecture of Atmosphere” by Mark Wigley, in which he affirms that the goal of architects to control impalpable elements is a never-ending attempt. As architects we can envision projects that take into account and analyze most of the elements that are in the environment, to connect the changing climates with the material object, creating a relation between the atmosphere and the building. However Wigley expresses that trying to control the atmosphere through architecture is just a fragile illusion.

By defining atmosphere as everything that surrounds the architecture (nature), then controlling it will be a failed intent. In this case the atmosphere will be the one dictating the architect what is the correct approach of design to be able to adapt to the environment instead of imposing in it. On the other hand if atmosphere is considered as an intangible sensation that the users can feel in an unconscious way, then the shapes, colors, textures, lights, smells and temperatures can be molded to create different atmospheres. By transforming these, architects are not controlling the atmosphere, since there are external inputs, like the users behavior, that can’t be regulated.

In frank Lloyd Wright’s and in Le Corbusier’s sketches we can see how architects think that their buildings are interfering in the existing environment and pretending to create new atmospherically systems. When Wright draws the sky as a canvas for the building, Le Corbusier extends lines from the build to the sky.

On the View House, Diego Arraigado and Johnston Marklee, the architects, say that they integrated the landscape with the house but still maintained the privacy from the neighbors. This 300 square meter sculptural house has a quiet interior with smooth white walls and a contrasting concrete exterior with no primary façade. Through a positional logic system the architects subtract parts of the volume and place windows to relate the exterior with the interior. By having windows that create different light effects and having different views of the nature around, the architects try to create an ambient, but can we really dictate this atmosphere when nature is always changing and human beings are always fluctuating?

This mystic background that always exists, that we can’t see or touch, but we do feel it, is one of the topics that I would personally like to research. I don’t think that the role of an architect is to control atmospheres, although it is to provide spaces in which users can interact physically with the architecture. Through this interaction different atmospheres are created; every human being will perceive it in a different way depending on how they experience and communicate with architecture.

View House by Gustavo Frittegotto.

Case study: View House, by Diego Arraigada and Johnston Marklee

Text: The architecture of atmosphere, by Mark Wigley

Built in a suburb surrounded by vegetation in Rosario, Argentina, the View House form is the result of a conflict imposed by the clients two main requirements: integration with landscape and privacy from neighbors. This sculptural house have 300 square meters and was designed by the architects Diego Arraigada and Johnston Marklee in 2004 and concluded in 2009.

With no primary façade, the house is composed by a rough concrete curved form that contrasts with the smooth, calm and delicate interior. The basic mass is shaped by four geometric and distinct subtractions, and through positional logics system, the architects designed generous windows that connect interior and exterior, flaming the landscape and leading the owners to contemplate the nature. The spiral circulation leads to the roof terrace, where the users can enjoy the sun and the lull.

The architects concern about the environment and the technique of atmospherical system can be notice by the house minimal footprint and the care about void the artificial light use. Carefully guided, the big windows provide indirect sun light and cross ventilation, creating thermal zones and more than that, incredible light effects on the peaceful and white interior.

The Architecture of Atmosphere is an article publish by Mark Wigley in the book Daidalos (1998) where the architect points that atmosphere is everything that surround the building, and independent of the intent of the architect can’t be controlled. As an abstract environment created by the users’ behavior, nature and architecture, the atmosphere can’t be measure or delimited.

A proof of how architects always tried to control this atmosphere can be founded on Frank Lloyd Wright sketches, where he used to draw the sky and the environment with straight lines, as if the building would interfere on this atmosphere. Nowadays it can be seen on the renders full of ornament and special effects.

Comparing both texts is possible to notice how architectures, using different systems (logical or structural) attempt to create buildings that are able to change the atmosphere and the relation between users and environment, but that is something that (even with a big help of the design) depends of the users, society and nature, that can accept the proposed project, denied it or mold it.

As a personal research topic, I am really interested about integrate man, building and nature in a directly way, transforming the construction in a living building that breathers, perspires and transforms, not just reducing the impact on the environment but also improving life quality to the users and citizens.

Area : 3200 sq ft

Location : near Rosario Argentine [vast landscape of argentine plains]

As I analysed the view house, I understood the various considerations and the process an architects goes through while designing a building.In this case study, the process involved positional and atmospherical conditions / relations with respect to the site and  the human interaction/requirement.Elaborating on the same, the positional and atmospherical relation refers to the the site location and site condition. this site is situated in the argentine plains with brilliant views surrounding the site in all the 360 degrees. the architect intended the views to be preserved for the client without compromising on the privacy.  Based on this positional relation from the site, the form was evolved .This form was further developed to relate to atmospherical relations visually.the form acquired from the positional relation of the site was further improvised by subtracting volumes to visually connect to the atmosphere on the site.

After studying the view house, I understand that the architecture gets more depth when the creation is in relation to the many elements that it affects and is affected by. Although this is true, I feel that the view house could do more than relating to the site.The architecture can be a system in itself which grows and responds, but in this case study, it seems to be mostly adhering to the visual relations .

MARK WIGLEY – The  Architecture of Atmosphere

This literature talks about the atmosphere created by any built form. The surrounding it interacts with, creates an atmosphere as a default, therefore, it says that architecture of atmosphere begins where the construction ends.Here, the writer speaks about how an architect , with the use of drawings, assumes that the design interacts with its atmosphere and therefore has a sense of control with the atmosphere surrounding the building.Examples of drawings of starachitects like Frank Lloyd wright and Le Corbusier is given and in F.L.Wright’s Falling water house design, The lines of the drawing indicates a sense of cohesiveness between the building and the atmosphere/surrounding .

Further Le corbusier draws a series of lines parallel to the lines of the building indicating the sky , and therefore the atmosphere around the building. the writer explains to the reader about how this interaction is bound by these lines on paper and in actuality the interaction with the atmosphere is just a fragile illusion.

There are various atmospheres that is created by any built environment –  atmosphere like for climatic atmosphere, social atmosphere, etc. The writer urges the reader to think beyond the lines of a drawing when it comes to the atmosphere of architecture and questions if the atmosphere of architecture can actually be controlled .

As an analysis, i feel that currently, although it is unlikely to have any control over the atmosphere of architecture, as technology grows, there might be an era where there will be designs which are more sensitive to the architecture of the atmosphere. Although this might still not control the atmosphere but instead respond to it better than lines indicating the interaction on a drawing.

Research interests

As a research line, i am highly enthusiastic about creating systems of designs which are non static.  The design of which is not limited by its requirements but explores possibilities of being an organism in itself. Am not  bound by the idea of the design being a building , as  every scale of design is a beautiful process .And through this design, if there could be a possibility of  a positive contribution to the psychological and physical health & well being of the society , that would be like an icing on the cake!

Thank you.

References :  google.com