Reading...
Play button
Play button
Use LEFT and RIGHT arrow keys to navigate between flashcards;
Use UP and DOWN arrow keys to flip the card;
H to show hint;
A reads text to speech;
47 Cards in this Set
- Front
- Back
|
explain Balance and Harmony v. Tension and contrast
|
an interplay of conscious form decisions. whish either depicted calmness or chaos. Let's face it buildings have personalities and expressions.
|
|
|
Explain Scale in realtion to facades
|
refers to realative size of parts to the whole. does everything seem right?
|
|
|
Explain proportion in realtion to facades
|
regulation of parts controlled by geometry or architectural style. LeC uses regulating lines, FLW used horiztonal lines or modular.
|
|
|
Explain articulation in relation to facades
|
the placment of visual emphasis, cantilevers, popups
|
|
|
Explain tectonics in relation to facades
|
the proper use of construction to narrate or express the buildings structural systems
|
|
|
Explain efficiency in relation to facade
|
visual cost benefit anaylsis, biggest visual reward
|
|
|
Explain repetition in relation to facade
|
many buildings have repetitive elements and fundamental axiom of modern architecture is that like things deserve like treatment
|
|
|
Explain Thematic orders relation to the six logics of ordering facades
|
express a collective overall organization in which all exterior decisions contribute to the whole. EX: Austrian institute in NYC, Micheal Graves Humana building.
|
|
|
Explain Functional logics in relation to the six logics of ordering facades
|
functional logics reflect the buildings primary use or function. The building looks like what you expect...a gas station, supermarket, water tower, functional orders are repetitive and lead to boredom, dull buildings.
|
|
|
Explain structural logic in realtion to the 6 logics of ordering facades
|
structural logic suggest the hightech approach where the engineering aspects of the project as celebrated and clearly expressed on the exterior. Renzo Piano Nasher center, Louis Kahns Exeter library, The Menil by Piano
|
|
|
Explain climatic logic in relation to the 6 logics of ordering facades
|
climatic logic, in specific regions the wind, sun, thermal variations clearly influence the exterior and dominate its configuration. Archs love to incorprate brise soleil or sun breakers to the facade to shade the harshest daily sun,no glass on west facades in dallas,not to much on north facades in minnesota
|
|
|
Explain contextual logic in realtion to the 6 logics of facade organization
|
contextual logic assumes the surrondings are the primary influence. Houses in historical districts must conform to the neighborhood, office buildings in washington, college campuses often dictate the look of new buildings.
|
|
|
Explain entrances in relation to elements of the facade.
|
door selection, shelter, identification, lighting, symbolism, symmetry, security
|
|
|
Explain windows in relation to the elements of the facade
|
groupsings, reptition, isolation, giant orders, stylistic reasons, new vs. old, carniege mellon buildings by micheal dennis, Fred Koetter projects
|
|
|
Explain combing elements in relation to the elements of the facade
|
balconies, chimneysm cantilevers, signage, stairs. Swiss architect Mario Botta has a professional hisotry of building with a single, mammoth aperture to the world of view. His houses dislay a consistent pattern.
|
|
|
Room and the work of Louis I Kahn
|
Architecture comes from the making of a room. The plan is a society of rooms. At the Kimbell Museum, the vaults defy vision. Even when partitioned, the room remains a room. You might say that the nature or a room is that it always has the character of completeness.
|
|
|
Natural Ligt and Louis I. Kahn
|
The room is not a room without natural light. Natural light, to kahn was the only tru light. He considered the windoe the most signigicant part of the room, the part that gave and vitality to the space
|
|
|
Servant Served and Louis Kahn
|
from his understanding on how the rtunk and branchees of a tree carry nourishment to the leaves and ow the heart pumps a life sustaining oxygen throught the arteries to every cell in the body, Kahn concieved the dead that a building should have a seperate space for mechanical systems, ventilation, electricity, and plumbing rooms. Kahn suggest that if walls were opened up and made hollow, they could become actual rooms for the accomodation of ducts, wires, and pipes, thus provding services to the spaces without invading them. In this way, building could be divided into servant spaces and the spaces they serve.
|
|
|
Traces of construction and Louis I. Kahn
|
Kahn sais " if we were to train ourselves to draw as we build, from the bottom up, when we do, stopping or pencil to make a mark at the joints of pouring or erecting, ornament would grow out of love for the expression of the method...You can make a joint that's so magnificent because that joint is no little thing. In fact, if you's put gold into it, you wouldn't be spending to much money."
|
|
|
Imaginary centerlines...
|
are means of organizing geometry's which in turn connect spaces or outdoor rooms. Axes need substantial manmade and natural reinforcement along their length. Overlaps or shifts add to the spontaneity and element of suprise. Poche is used as landscape solids to sbsorb various formal plan "moves"
|
|
|
Trees....
|
are planted in a row as grids (like the orange grove or apple groce) or planted in seemingly loose natural manner. Both attitudes can exist in the garden along with existing foliage.
|
|
|
Architecture events....
|
undoubtley dot the garden. They serve as focal pints, receivers and senders of axes, and by themselves are handsome projects. It is to easy to mimic the past and more modern interpretaionts require much more from both the designer and the client
|
|
|
Soft materials...
|
like vegetation is what most gardens are all about. Consider hard surfaces as well like paving, gravel, horizontal textures, etc. Robert Burle Marx, the brazillian landscape architect, is a master of moxing hard and soft materials in a painterly way.
|
|
|
Prioritize the program and establish hierarchy
|
among the parts and shape them accordingly. In other words don't emphasize all things the same. Establish hierarchy by height, position, silhouette/profile, contrast, and recognition.
|
|
|
Thanksgiving Square, Dallas
|
Philip Johnson
|
|
|
Vietnam war memorial, Washington DC
|
Mya Linn
|
|
|
Williams Square Los Colinas
|
by SOM
|
|
|
Watergardens, FW
|
Philip Johnson
|
|
|
Solana westlake, texas
|
peter walker and associates
|
|
|
perimeter planting
|
shrubs planting surronding the building
|
|
|
bosques
|
rows of trees planted to form lines
|
|
|
Trellis
|
overhead open structre often covered by vegetation, vines, ivy, roses, etc
|
|
|
threshold
|
a point of entry from one space to another
|
|
|
Topiary
|
carefully manicured and clipped hedges and plantings like animals
|
|
|
parterre
|
maizes, hedges, geometry
|
|
|
poche
|
thick, often inaccesible solid plant material
|
|
|
alle
|
linear space between rows of tress or walls to extend axes
|
|
|
enfinade
|
extended space to the horizon
|
|
|
folly
|
expandable object with little function to the garden
|
|
|
object d' art
|
sculpture statues axis terminus
|
|
|
soft materials
|
gravel, sand, pine neeedles, wood chips
|
|
|
hard materials
|
brick, granite blocks, concrete, stone, slate
|
|
|
Entrance criteria-shelter
|
cover the pedestrian or car, keep out of the sun and rain. This canopy or porch should "fit" the architecture. Projections or recesses can bother provide neccesary protection.
|
|
|
Entrance Criteria-Change of level
|
elevated entrances signal importance accessed by ramps or stairs.
|
|
|
Entrance criteria-Proportion
|
the size and magnitude might be exaggerated to overwhelm the facade. One might oversize the door, and side lights, glass blocks, or textured glass
|
|
|
Entrance Criteria-announcement
|
announce the door, flank it with liions, lights, urns, street numbers,kick plates, and other decor.
|
|
|
Entrance Criteria....be civil
|
this is subjective but important, architecture does not need anymore ugly unfirendly entrances. Deadly entrance might as well be service doors or fire exits. Consider the material, color, scale,. Decide if glass and transperancy is apporpriate. Think about security and safety
|
