“ARCHITECTURE: PRACTICAL AESTHETICS” SERIAL FORUM (II)
Practical Aesthetics:Communicative Construction
主办单位 / HOST
Architectural Internationalization Demonstration School, Southeast University
论坛主席 / CHAIR
论坛日期 / DATE
论坛时间 / TIME
ZOOM线上召开 / To be held online withZOOM
演讲者及演讲内容简介Introduction of Speakers and their Lectures
Professor and Foreign Dean of Architecture Internationalization Demonstration School at Southeast University
Professor Emeritus, University of Pennsylvania
Silent Voices: of extended terrain, defined spaces, and constructed surfaces
This talk will inquire into the forms of communication that are specific to architecture, a problematic issue today, when other arts claim responsibility for topics of design that architecture itself cannot avoid. A distinction will be made between autonomy in conception and engagement in realization. Architectural communication will be characterized as polyvocal, though its voices aren’t exactly audible; in point of fact silent, expressive in the manner of human gestures. The work of several contemporary architects will be reviewed, also examples from vernacular traditions, not in general, but in consideration of a single constructed element, the lattice screen, which will be described a silent song of topographical sense.
Professor emeritus of Architecture at University of Virginia
Animism and Architecture
It is not an accident that the birth of the science of anthropology in the nineteenth century was coincident with the appearance of Darwinian theories of evolution. Both nature and culture were seen as evolutionary. Europe represented the fully developed culture that “primitive” cultures of other continents would evolve into. Many of these primitive societies were characterized as animistic. In animistic cultures every object, especially trees or rocks, is a person. It has an inner spirit, a soul. Animistic cultures produced their own types of architecture, one inseparable from the materials of which it is made. The Shinto culture of Japan produced the Ise shrine, a building growing out of the inner life, “the Kami, “who occupy each piece of wood. To the European mind this was superstition. The traditions of Christianity and Platonic philosophy saw the real world as an imperfect representation of an ideal one-the orange is an imperfect manifestation of a sphere. This also produced its own art and architecture. Alberti tells us architecture originates in ideal geometric forms, not physical objects. Material is irrelevant. It produced an architecture of external appendance in which the surface and our perception of it were all that mattered. Albertian ideas of architecture have not gone away. The geometry is parametric today, not Platonic, but geometry is still the point of origin. But the truth is European culture has always had an architecture of animism. European and American architectural history is filled with outliers, heretics for whom form came not from external idealized shapes but from within the material of buildings themselves-Michelangelo, seeking to release the form already existing in the stone as he carved, Frank Lloyd Wright who sought form in the nature of the materials, and contemporary designers, such as Smiljan Radic, Marcela Correa, and Anton Abril- who begin not with geometry but with objects.
Esra Sahin Burat
Associate Professor of Architecture Internationalization Demonstration School at Southeast University
Making Sense in the Exchange: Weaving the "Turkish House"
本文通过研究“土耳其屋”的建筑表达，对森佩尔的论文提供了一种解读。“土耳其屋”本身就是一个有争议的术语，其广义上指从17世纪到20世纪在小亚细亚内部及周边地区蓬勃发展的本土传统建筑。本研究提出，房屋的基本单元——房间(oda)——作为一个多功能的被围合起来的建筑体，从早期的帐篷住所(otag) 演化而来，用森佩尔的话来讲，它“保护火源”(od)并 “与其他元素相协调”。土耳其屋的材料和建造建立了房间和环境(街道/花园/城市)之间的互动，将看似分隔的实体编织在一起，使“环境整体的秩序和形状”变得可见。最终，本文对建筑等同于“建造+再现”的二元相加公式提出了质疑，旨在将人们对意义的关注与探索移到物与物之间的交互中。
The nineteenth century was a period of technological advancement and stylistic revivals. Alongside the concurrent yet largely independent interests in the technical and artistic aspects of architecture, it was also the age of international exhibitions and archeological explorations. Interested in all of these topics and theorizing in his seminal thesis, The Four Elements of Architecture, German architect Gottfried Semper examined with great interest the ancient and contemporary artifacts under display in major capitals of Europe. Proposing that the hearth, the roof, the fabric wall, and the mound had been the essential components of architecture, he set out to show how these had been employed in the history of architecture. This paper offers an interpretation of Semper’s thesis by investigating the architectural articulation of the “Turkish House.” Itself a contested term, “Turkish House” broadly refers to the domestic tradition that flourished from the 17th to the 20th centuries within and around Asia Minor. The study proposes that the basic unit of the house –the room (oda)—, which served as a multifunctional enclosure that evolved from earlier the tent dwellings (otag), “defended the fire” (od), and “negotiated with the elements,” as described in Semper’s words. The materials and the construction established interactions between the rooms and the environment (street/garden/city), weaving together seemingly disparate entities and making visible “the order and the shape of the whole.” Ultimately, the paper calls into question the dualistic and additive formula that has equated architecture to “construction + representation” and aims to shift the attention and the search for meaning to the exchanges between things.
Professor and Assistant Foreign Dean of Architecture School at Southeast University
Silicone Sealant and the Smoothness in Articulation
The past two centuries have witnessed extensive revolutions brought about by the invention and improvement of structural materials, such as steel and concrete. However, the application of certain non-structural materials has effected no less weighty changes, and some of these materials, like silicone sealant, are not readily noticeable. This study will start with some observations on the roles that silicone sealant plays in a few cases: 1) the smoothness of visual interpenetration due to the perfected transparency; 2) the smoothness of surface construction owning to the enhanced building envelope; and 3) smoothness of comprehensive experience thanks to bodily movement. Then, questions will be framed about the actual performances of silicone sealant, weighing the gains and losses. In the end, theoretical speculations will be made concerning the communicability empowered by various degrees of smoothness, that is, how architectural legibility can be enriched through bodily engagement in a time of constant and accelerating technological innovation. The study of silicone sealant’s uses and effects may demonstrate that in architecture the accessorial matters and should be able to render construction communicative with a sort of smoothness.
Professor and Head of Research Department of Digital Architecture and Planning at the Institute of Architectural Science at Vienna University of Technology
Re-grounding Architectures: Making sense of terrain, ground and soil in architecture and environment integration
The opening premise of the symposium “architecture makes sense … thanks in a large part to how works are actually made” is extended to the questions for whom and why. In this context focus is placed on the relation between architectures and terrain, ground and soil, which have, for all intents and purposes, become all but secondary to the making of everyday architecture, by only being implemented as preparatory work or secondary applications such as green roofs. The presented thesis posits: 1) that it will be necessary this course of actions for architecture not to become increasingly alienated from mankind and the environment and 2) that a broad range of human-nature interactions are desired as part of the living environment for humans and other species especially in cities. The consequences for how architectures are understood, made and read are potentially far reaching. In this talk the three questions posed in this conference are extended as follows: 1) what role can terrain, ground and soil play in architectures capacity to provide experiences (reading extended to different types of engagement and to a broader scope of stakeholders); 2) how does time bear on what an "architecture" is or can provide at any given moment in time and how does this change specifications, planning, and the management of change; 3) how does this approach change how architectures are made, maintained and adapted. And, by extension, how can the proposed repositioning of architecture benefit from an integration of traditional local practices of using ground.
Yung Ho Chang, FAIA
Founding Partner and Principal Architect, Atelier Feichang Jianzhu (FCJZ)Professor of the Practice, MIT
Buildings That Teach
Through a series of recent projects produced by our practice, I would like to discuss how thoughtfully articulated tectonic components may serve as powerful manifestations of architectural positions; furthermore, how spatial organization of university campus with clear intentions could constitute an integral part of pedagogy and education.
Associate Professor of School of Design at the University of Pennsylvania
The Art of Building: making, craft, details, tectonics, surfaces, maintenance
The art of building as an idea has persisted amongst contemporary architects, historians, and theorists. It continues to inspire those who associate architectural practice with forms of making predicated on craft, the articulation of details, the conceptualization of tectonics, the figuration of surfaces, and with awareness that even maintenance impacts architecture. For this group of thinkers, returning to an ethical practice of building, which cultivates a role for material thinking in architecture, is both desirable and possible. For them, measure is bound to making, design to construction, and theory to practice. This paper discusses the writings of anthropologist Tim Ingold, social critic Richard Sennett, historian Kenneth Frampton and others for whom construction communicates through thoughts and things. This is the spirit that animates this paper’s return to an art of building, which albeit shrouded by the shadow of architecture’s misalignment with aesthetics, prospers amongst contemporary readings of techné. Pairing architectural scholarship by post-68 authors with allied works of architecture, this paper speaks to the enduring resonance of making, craft, details, tectonics, surfaces, and maintenance.
奥斯陆建筑与设计学院博士与研究员，建筑师PhD and Research Fellow at The Oslo School of Architecture and Design, Architect
This talk is concerned with ways in which architectural construction and its materiality may make sense to the user and thus raise the long-term appreciation of our built environment.There are two main reasons for prolonging the lifetime of buildings; one is to minimize their environmental impact, another one to avoid disrupting grown neighbourhood communities. Arguably, this prolongation not only depends on the robustness of the buildings (e.g. the materials' durability and the layout's adaptability), but also on how much they are appreciated. The qualities that contribute to the "lovability" of architecture are however much more difficult to specify, assess or agree upon than quantifiable aspects or technical solutions. They are therefore often described as "tacit" qualities – qualities that are implied, not said aloud, only hinted at. At the same time, many languages indicate a communicative component of lovability. Something appealing, attractive or pleasant is called "ansprechend" in German or "tiltalende" in Norwegian. In a literal sense, this means "addressing someone", "speaking to someone". Architecture that is perceived as lovable speaks to you, it addresses your concerns, has something to say, makes sense to you.This raises a number of questions: Which tacit qualities are of concern for the user, and how can they be communicated by the construction's materiality? What does it require from the recipient to take these messages? How can architects facilitate this dialogue?With a special focus on timber, this presentation is going to propose three ways in which construction materials and residents may get into conversation with one another, relating to wood's properties, perceptions and values. The suggested framework is informed by visiting a number of urban timber housing projects in Central Europe and Scandinavia and by talking to their architects as well as their inhabitants.
Founder and Principal Architect of TAO
Horizon and Gravity
Horizon refers to fundamental relation between architecture and earth. Ascending or descending; floating or buried, form thus appears. Gravity refers to realizations of form: how structure, materials, tectonic respond to the aspiration of form. Horizon and Gravity consist of two reflective aspects in architecture, and reveal our essential relationship with the environment.
Professor of School of Architecture at the Chinese University of Hong Kong
Metamorphosis of Openings: A study on Luigi Caccia Dominioni’s hexagonal brick bond innovation
This research introduces three collective residential buildings designed by Luigi Caccia Dominioni in Milan in1950-60s: Convento di S. Antonio dei Frati Minori, Convento e Istituto della Beata Vergine Addolorata, Condominio in via Massena 18. The research focuses on the innovation of hexagonal bricks, then explores how the bond organization regulates the formation of facade form. While realizing the habitational functions on view, ventilation, and privacy, these facades responded to the economic requirements of post-war reconstruction. The unique openings enriched the classical vocabulary of facade design with new ambiguities inspired by the modern movement.The research first showcases how the readings of material use, construction technology, and practical limitations is still a reliable approach for the dialogue with the pioneers, then proves that case selection with a focus on metamorphosis will empower the static buildings, to be more narrative and more attractive for the younger generations’ inquiries.