Content
- Introduction
- Acknowledgements
- Architecture is a reflection of place.
- Fundamental Components of Architecture
- Modifying Components of Architecture
- Multifunctional Elements
- Utilizing existing features
- Primitive Architectural Typologies
- Architecture as Frame Construction
- Temples and cottages
- Geometric Principles in Architecture
- Spatial organization and structure
- Parallel Wall Configurations
- Stratification
- Transition, hierarchy, and core
- Postscript
- Case Studies
- Fitzwilliam College Chapel
- The Schminke House
- Merrist Wood
- The Vanna Venturi House
- The Woodland Chapel
- Selected bibliographies and references
- Index
Preface
I have been sketching in a notebook over several years to examine architectural ideas. As an architect, I find this exercise to be useful; it also helps me to focus my teaching. The basic argument I will present is that learning from the work of others can enhance one’s ability to “do” architecture.
This aids in educating one about the potential of architecture, and by observing how other architects have utilized these possibilities, one can gain insight into their potential application in their own designs.
For educational purposes, I have organized the observations from my notebook into the beginning of a thematic framework. One can use this framework to examine examples. The following chapters assist in highlighting some of the recent emerging concepts. They observe architecture as a creative discipline, its elements, the factors influencing it, and the attitudes that could be selected in the process of achieving it. The first chapter introduces a working definition of architecture, which one could describe as the identification of location. Architects view this as their primary concern, laying the groundwork for all subsequent discussions. The key that has enabled access to the related topics discussed in this book is the awareness that the primary objective of architecture is to identify, recognize, improve, and establish the identity of places.
A significant portion of the book focuses on the application of conceptual strategies in design. There are numerous chapters that delve into the various arrangements of space and the various roles geometry plays in the field of building.
According to my understanding, architecture offers lyrical and philosophical possibilities throughout the entire process. Architecture is essentially poetic if one considers poetry as a condensed form of the events one goes through in life. Still, it is evident that certain architectural creations achieve more than others. These pieces seem to be transcending poetry—a layer of meaning and significance stacked on top of the site’s immediate display. Enjoy this poetry at the cerebral level, as it serves as a complement to the sensuous experience and perception. The chapters cover a variety of subjects. One can consider these subjects as analytical “filters” or frames of reference. Examples that illustrate a specific aspect of architecture’s complexity include the creation of frames, primitive place classifications, temples and cottages, stratification, geometry, and more.
Each chapter closely links the text, which aids in clarity, with the illustrations, which serve as the primary research tool. While some of the drawings depict schematics of specific pieces or ideas, the majority serve as plans or sections illustrating the subjects under discussion.
Each of the various works selected as appropriate examples for more than one chapter highlights a different theme. Examining any piece of architecture through any or all of the filters allows one to find intriguing disclosures; nonetheless, this does not always produce such results in any one case.
The book concludes with several case studies. These case studies show how examining a certain piece of work in connection to several different themes can help one to complete a more thorough study of that work.
Many people have helped to create this book, whether or not they knew it at the time. Many student architects have contributed significantly, exposing them to a variety of teaching strategies that have influenced the development of this book. This collection reflects the ideas produced by some of those who designed objects or uttered words.
My colleagues in the field of architectural education, particularly those I meet with weekly at the Welsh School of Architecture, share this sentiment. Among those who have suggested the examples under discussion are Kieren Morgan, Colin Hockley, Rose Clements, John Carter, Claire Gibbons, Geoff Cheason, and Jeremy Dain.
I have helped both Patrick Hodgkinson, a Bath School member, and Charles MacCallum, the head of the Mackintosh School of Architecture in Glasgow, by means of many talks and encouragement.
Furthermore, I would like to express my gratitude to Richard Silverman, the head of the department at the Welsh School, and some of the guests who visited the institution and, without their knowledge, contributed ideas highlighted on the following pages.
Several of my colleagues in the field of architectural education have contributed to the creation of this book by maintaining certain presumptions.
with which I came to find I disagreed. My approach to thinking has changed greatly as a result of trying to find the causes of my disagreement. I must thus express my gratitude to my friends and potential rivals, even though I will not name them.
I also like to thank Gerallt Nash and Eurwyn Wiliam, who both work for the Museum of Welsh Life. They kindly sent me a survey of the cottage Llainfadyn, which formed the foundation for the sketches shown at the start of the chapter Space and Structure.
I especially like to thank Professor of Design Dean Hawkes of the Welsh School for his work. He was kind enough to review the material as I was preparing it and provided me with some really insightful comments.
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