Circulation Path

Applying the Nomadic Device In The Parking Structure

Pictures Nomadic Device

Nomadic Device Line Drawing

Reading Questions/ 2 Readings on Details

1. 1.) As the technique of detailing changed from the hands of the craftsman to the tools of the architect, how has the resulting construction of details changed? Explain in terms of scale, material and cost.

In transitioning in detail from craftsman to a tool of the architect, scale to a craftsman is determining the right size for a specific detail, where as to an architect the term scale means defining a definitive space, a space that becomes truly complete when all details become integrated and worked well to make a building function in all aspects. Material would also in a sense cost more, because there was a better precision in detail. In this notion of the “analytique” a single detail could play out to make the overall composition come together. Details demanded more cost so it would affect the economy as a whole because they were soon seen as an “investment”. Detail corresponds to scale because is it but a small piece to a larger whole. To an architect, scale is seen as a tool to control detail.

2. 2.)How does "geometrical relationship" of individual details provide an understanding of the whole building if "indirect vision" localizes the viewer and "habit determines to a large extent even optical reception"?

Geometrical Relationship can still be understood even if “indirect vision” were to occur or if “habit determines to a large extent even optical reception” because as Benjamin stated “buildings are appropriated by use and by perception or by touch and sight”, so essentially if both of these ideas were present to a viewer, it’s still possible to utilize these to one’s advantage because geometrical relationships are embodied in details in a “built environment” and in the “natural environment” so with both of these conditions almost always present, the indirect vision becomes a “large field of vision”. In a sense indirect vision works with the habit of determining to a large extent even optical reception.

3. 3.)Carlo Scarp's details are a "result of an intellectual game" where the Open City buildings are constructed from an act of poetry. Describe what role the detail plays to "tell-the-tale" in each of these environments.

In Carlo Scarp’s environment, he tells the tale with his use and construction of details and places them to correlate with ones understanding of a building through sense and vision. He does this at the very beginning with his architectural drawings, through his capturing of connecting construction of a representation with a construction of “edifice”. Judgments made by individuals are indeed in a sense linked to the process of construction of the actual building. So in the end these details become an act of foreshadowing in predicting architectural events. In the open city the details help allow one to understand how the building is a part of the outside environment. The perception one gets from the inside has the same connotations as the outside or vice versa. So the detailed architectural events that happen in the inside tells the tale of the poetic nature of the sand and sea in constant motion both at the same time.

4. 4.) Pendleton-Jullian writes about the Open City as emerging from and being in the landscape. Does allowing landscape to initiate "the configuration of territory and space" challenge Western building notions, and how so?

Allowing the landscape to initiate configuration of territory and space does not challenge the western building notions because unlike the landscapes that are well varied across South America western landscapes have no variations so in a sense landscapes can’t be configured with to have the same effect that landscapes from South America have. Topography’s in the western world have no real sense of corresponding with a given building the way the topographies correspond with building work in the open city. Western building notions are not necessarily poetic in nature the way the open city is. Unlike the open city, western building notions are built as a whole where the open city is constructed in intervals when inhabitants see the need for it, moreover, each segment corresponds to an individual characteristic in the surrounding enviorment/community.

5.) Describe some detail conditions of the Open City that convey "lightness" as Pendleton-Jullian refers to.

The open city does indeed separate and make clear the difference between shadow and light and Pendelton’s concept of lightness if directly seen in the entry of the Hospederia. Where you see a beginning stage where the understanding of the Hosperderia begins to take place as you see a detail from the edge to center. This sense of lightness also works with the site because in the entry you witness the Hosperderia coming out of the sand and as you migrate around the building five bays are discovered and one begins to understand this sense of lightness where the understanding of the building matures as you progress through it. As the progression happens you see that one building leads to another and another and so on, this is where lightness continues and is spanned throughout the Open city in a poetic act.

Budget List

Manufacture Used

1.) Lowe's

2.) Lowe's

3.) The Home Depot

4.) Lowe's

5.) The Home Depot

6.) The Home Depot

7.) The Home Depot

8.) The Home Depot

9.) The Home Depot

10.) The Home Depot

11.) The Home Depot

Material Type

1.) Plated Steel Round 3/16x3

2.) Rated Sheathing 23/32“x4x8

3.) Mortise Hinge

4.) 3" Square Polish Brass Hinge

5.) Shelf Supports

6.) 1/4" thick birch Wood

7.)Semi-Gloss Paint

8.) Casters

9.) Foam Kit

10.) Screws

11.) Wood Filler

Quantity

1.) 4

2.) 1

3.) 3

4.) 2

5.) 2

6.) 1

7.) 1

8.) 4

9.) 1

10.) 1

11.) 1

Hardware Needed

1.) Band Saw, Hammer, Drill Bit

2.) Table Saw, Jigsaw, Drill, Hammer

3.) Drill

4.) Drill

5.) Drill Press

6.) Bansaw

7.) Brush

8.) Drill Press

9.) non Needed

10.) Drill

11.) Non Needed

Cost

1.) $3.94

2.) $13.97

3.) $6.81

4.) $4.76

5.) $2.40

6.) $8.47

7.) $9.97

8.) $11.88

9.) $6.97

10.) $7.89

11.) $ 4.28

Seminar Discussion Questions

1. The readings refer to tectonics in a variety of settings; tectonic/stereotomic, tectonic/atectonic, topos/typos/tectonic, representation/ontological, rhythm, corporeal metaphor, ethnography, and technology. Briefly define each term and provide an architectural example that embodies the condition

The topos, typos and tectonics are all a form of converged vectors that go along with site and type in regards to scenographic and visual , an architectural example would be Giorgio Grassi's restoration and reconstruction of the roman theater of Sagunto, Valencia 1985. Tectonic is essentially the wide variety of components that make up a dwelling for an individual due to his sense of fine art, the dwelling representing his deepest feelings. In turn this becomes known as tectonic. Atectonic is basically the opposite 0f of tectonic where representation of a building does not exist. An example of this would be Josef Hoffmann's masterwork the Stoclet House 1911. In Semper's analysis he sees tectonics as framework with the roof the linear components based off his dwelling divided into four basic elements and describes both as being lightweight and he describes stereotomics as being the earthwork "where mass and volume are conjointly formed through the repetitious piling up of heavyweight elements". The distinction can be seen in Karl Gruber's 1937 reconstruction of a typical German medieval city. Corporeal Metaphor is describes as being the body experience and understanding throughout any given building where all the five senses interact with a surrounding dwelling, an example of this would be Giambattista Vico's Scienza Nuova of 1730. Ethnography is defined as being constant "eternal present" where nature is understood through art, where man tries to comprehend the things around him as he builds a building, where artistic beauty goes in conjunction with artistic instinct. This can be seen in Pierre Bourdieu's 1969 study of the Berber house. Representational is defined as being symbolic, "the skin that re-presents the composite character of the construction" and ontological is defined as being technical and the "core of the building that is works both fundamental structure and its substance". An example of this would be Adolf loos's essay in 1898 entitled The Principle Of Cladding. Technology is essentially the challenge presented to generations of individuals who has to decide whats fit for the modern world in regards to space. This insight is emphasized Martin Heidegger's essay "Building, Dwelling,Thinking" in 1954.

2. Kenneth Frampton writes that this study of tectonics "seeks to mediate and enrich the priority given to space", what is a dominant trend in Western architecture of today and how does tectonics relate to this trend?

The study of tectonics has helped us understand what and in a sense how to control space around us, how to modify it and understand it. In western Culture today we see that, everything we do when constructing a building is strictly defined by how the space in the inside and outside is going to be manipulated, when looking back in how tectonics plays a role in this trend we understand that all the components of a building also too depend on mans understanding of the world around him his sense of artistic ability and comprehension.

3. "Greek in origin, the term tectonic derives from the work tekton, signifying carpenter or builder". How has the the impact of Albert Einstein's theory of relativity and other space-time models altered tectonic etymology?

Over a great amount of time, our understanding of knowledge has helped us further comprehend the world around us thanks to science. Albert Einstein theory of relativity was created thanks to Newton who's laws defined what gravity was, so it allowed for great construction to occur, space time models set foot for experimentation and thus greater and for more stronger construction frames could be built.

4. Vittorio Gregotti states in 1983, "(t)he worst enemy of modern architecture is the idea of space considered solely in terms of its economic and technical exigencies indifferent to the ideas of the site". If the intention of site is to situate human in the cosmos, how then does site infer from a contemporary landscape that has been graded, conditioned, tamed, treated, sculpted, mapped, engineered, essentially re-created by humans?

By altering the contemporary landscape by any means necessary for an individual, the reasoning for situating a person in the cosmos is lost. If humans were just put in any given site then that would undoubtedly mean that the human would have to get use to and understand the given environment around him, Since however this is not the case, it does not apply, so by changing the world around you the sense of understanding the cosmos around you is gone.

5. Is architectural tectonics applicable or relevant in a world of global mobilization? State and explain your position.

The architectural tectonics is indeed applicable in global mobilization, however, it is not something that we would heavily depend on, especially since each building relationship to man or site or anything is different. So essentially each is unique in its own way. The fact that each construction is heavily different it is important that we depend on this rather than that of global mobilization, only because we can learn from each one that offers knowledge, as we obtain this knowledge we can always improve it for future generations to come.