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 as an art form. It is concerned with the modeling of material to bring the material into presence - from the physical into the meta-physical world (Maulden, 1986). Since tectonics is primarily concerned with the making of architecture in a modern world, its value is seen as being a partial strategy for an architecture rooted in time and place therefore beginning to bring poetry in construction. Tectonics, however, has the capacity to create depth-ness of context resulting in the implicit story being told by the tectonic expression.
Compatibility is achieved thorough application of the following design principles such as Structure, Massing, Materials, Roof Shapes, Details and Ornamentation, and Reversibility (Grimmer and Weeks, 2010). Mentioned information should be considered in the design of rooftop extension that would be discussed in this article. It is significant to realize of the design principles of historic buildings for designing a compatible building. Compatibility should also involve analysis of how these design principles are used in the neighborhood and how they can be interpreted using today's materials and construction techniques. In some cases, compatibility is not that much considered especially for the rooftop extensions due to building character, function, history and neighborhood.
Use Function Parameter: This is the default option and it uses function type parameter of walls, floors and building pads to determine the building elements considered to be part of the building envelope. ii. Identify Exterior Elements: Uses a combination of ray-casting and flood fill algorithms in order to identify the building elements that are exposed to the outside of the building, the building
According to Curl (2000), it is also a term that suggests an architecture that responds to its surrounding by respecting what is already there, unlike Constructivism or Decontructivism which deliberately work against established geometries and fabric. According to the etymological manner statement made by Johnson (as cited in Cizgen, 2012) about Contextualism that expresses the relationship and the architecture context, he said that: “Derived from the Latin word “contexere”, which means weaving together, the word “context” can be described as “the setting of an event, composition, or text, in the sense of describing the spatio-temporal parts immediately preceding or following that determine its meaning." The word “contexture” which is no longer in use, can be considered to be more specific for the field of architecture as it has the following meaning: "the
Secondly, it shall present the evolution behind the prison architecture and its design in Iceland. This historical viewpoint will be valuable in forming the understanding in which prison design in present evolves. Therefore, the next major section will be the methodology, where the author will explain (where, what, when and) how the research study will be taken place in detail. The last section will be to understand the architectural design of prison in terms of its environment and elements including the general considerations in the planning of prison in Iceland. It will be compromised of three parts: an examine of architectural concerns in general as a whole in Iceland where the author will illustrate the prison design in Iceland briefly, the connections of the building through staff, prisoners, visitors and facilities.
Peter Zumthor Peter Zumthor’s style of architecture perhaps epitomizes the principles of phenomenology, a belief system brought about by the philosophy of Martin Heidegger. Zumthor believes that to truly understand a building it needs to be experienced in person. Phenomenology Phenomenology is the study of the structures of our experience and our consciousness. This school was founded by Edmund Husserl and is based on the premise that our reality consists out of object and events as they are perceived
This theory also relates to the writing of Paul Emmons. In ‘Demiurgic Lines: Line Making and the Architectural Imagination’ Emmons explains that “Architectural drawing is a unique mode of active thinking, a fertile wellspring where a design emerges from within the effort of drafting.” This Article focused on the
Architectural expression: Art [Kunst] Responsiveness to factual circumstances and refinement were prerequisites for achieving 'building'. However, to achieve true architecture, one still needed to elevate 'building' to 'building-art'.26 This artistic component regarded mainly the 'form' – the visible, external appearance of the building - which matured during the final stages of the design process, following the resolution and consolidation of more essential, underlying factors, such as the construction.27 Indeed, the form depended on the essence of the building because, to be true, the form should clearly express this essence – the building as it really was; being shaped out of its means and purpose.28 Through construction, the form could
It is about paying attention to its materialisation. In a time of curtain wall facades and complex regulations the articulation of the structure and its dressing can make a building readable for its spectators. Here it is the tectonic that provides meaning to
The approach involves some agencies interacting with socio-spatial structure and urban design can only be understood in its socio-spatial context. from this perspective, the technical, creative and social elements of urban design all come together to provide insight into this complex process and its products (Madanipour,
Beyond the idea of communicating knowledge and narrative, another approach is to shift attention from theory to practice to see how structural or landscape elements could be seen as ‘performative’ in a spatial sense of Dicky White Lane. The landscape element is defined and treated in a new way as a tactic to perform the spatial and the integration within the space. In interval or ‘folly’ in the exposed brickworks of heritage city of Launceston and people’s working life, the intervention is to propose a landscape to cover some part of this hidden laneway. The sprouted geometric furnishings and the narrow laneway create the ambience in Dicky White Lane and where it encouraging the passer-by to freely participate with the space to lunch, chat, or picnic on this ‘pocket’ park. The impression is about