By David Leatherbarrow, Mohsen Mostafavi
Visually, many modern structures both mirror their structures of creation or remember prior kinds and motifs. This department among construction and illustration is in many ways an extension of that among modernity and culture. during this booklet, David Leatherbarrow and Mohsen Mostafavi discover ways in which layout can reap the benefits of construction equipment such that structure is neither autonomous of nor ruled by means of technology.Leatherbarrow and Mostafavi start with the theoretical and useful isolation of the development floor because the topic of architectural layout. The autonomy of the outside, the "free facade," presumes a contrast among the structural and nonstructural components of the development, among the body and the cladding. as soon as the surface of the development turned self reliant of its constitution, it will possibly simply in addition grasp like a curtain, or like garments. the point of interest of the connection among constitution and epidermis is the architectural floor. In tracing the dealing with of this floor, the authors research either modern structures and people of the new prior. Architects mentioned contain Albert Kahn, Ludwig Mies van der Rohe, Alison and Peter Smithson, Alejandro de l. a. Sota, Robert Venturi, Jacques Herzog, and Pierre de Meuron.The houses of a building's floor -- if it is made from concrete, steel, glass, or different fabrics -- usually are not simply superficial; they build the spatial results wherein structure communicates. via its surfaces a construction pronounces either its autonomy and its participation in its surroundings.
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Extra resources for Surface Architecture
Example text
Ironically, it was the backs of many of these buildings that appeared to contemporary European architects as the “true expression” of the Chicago frame. 40 In the backs there was little or no difficulty in reconciling the imperatives of representation with those of construction, because their external appearance was directly determined by the “facts” of building production, daylight requirements, and considerations of climate. This is a question not only of the presence or absence of ornament but of the representational possibilities of contemporary construction—production as representation.
Accordingly, architectural design must be redefined within the context of industrialized production. Design cannot rely solely on extending the logic of the factory into the site, nor can the uniqueness of a project neglect the imperatives of mass production. Avoiding this duality means developing a sense of building in tension with contemporary technology, one in which elements that are premade in the factory and workshop are remade in design and construction. total containment Cladding elements constitute a system that projects complete enclosure.
Window/wall 49 bars, which act as regulating lines on the “canvas” and horizon lines in the landscape. This condensed image is less an interpenetration of inside and outside than an arrangement of lines that denaturalize the landscape by appropriating it into the regulating geometry of the painter’s (modulor) eye, thus merging window construction with landscape composition. Pages of The Modulor illustrate the applicability of this geometry to buildings, their details, and landscapes, once again condensing the whole into a regular pattern.