Wednesday, September 6, 2017

Architecture & Extortion: Thanks PhotoBucket!

Sorry everyone! Like hundreds of other bloggers who try to send out thought provoking and informative content, I received an extortion notice by PhotoBucket this summer. Where carefully placed images once resided, PhotoBucket banners how pollute my posts, requesting that I "update my account".  What the banners do not say is that the cost to link my blog's images from Photobucket has gone from $0 per month to $60 per month! So... I'm taking some time off to find another, less sleezy host! While I'm at it, I may do some reformatting as well. Until then, keep exploring, and stay away from PhotoBucket!

UPDATE: In May, PhotoBucket did the right thing and rescinded it's extortion against bloggers. I'm ready to resuming blogging as soon as I can pull some content together. I'm also ready to pull my tongue out of my cheek and say to my image host - Thanks PhotoBucket!

Sunday, April 30, 2017

Architecture & Shelter: All Architecture is Shelter

hunter-gatherer type shelter
It is universally understood that the fundamental basic human needs are food, shelter, and clothing. History offers numerous examples of peoples that have that have been deprived of one, or a combination of these needs. Whatever that causes, the results were, and are still, pretty bleak - starvation, exposure, disease. The importance of these basic human needs should not be underestimated. Although these basic needs are all interconnected, I am attempting to remove one of the needs, shelter, for further examination. 

On to the connection with architecture. Conventional wisdom is that while architecture shelters, that is only part of the story. The late architect and theoretician Philip Johnson was quoted as saying "All architecture is shelter, all great architecture is the design of space that contains, cuddles, exalts, or stimulates the persons in that space." 

Ziggurat at Ur
Architecture has obvious connections to shelter. Architecture shelters. It protects us from the elements. Early hunter-gatherers viewed their shelters quite simply. They were quickly-built temporary constructs of easily gathered materials that allowed an escape rain, snow, and wind. When the berries were picked or the wild herds moved on, so did the hunter-gatherers, there shelters simply abandoned.

As agrarinan societies developed it was no longer necessary for shelter to be temporary. Early societies began to grow well beyond small tribes and the shelters that were constructed could be more perminent. These new societies permitted specialized roles for its citizens which led to specialized buildings. Agricultural buildings, Sacred buildings, civic buildings and palaces emerged. They began to understand that these buildings could do more that provide shelter. If manipulated in the correct manner, they could raise their spirits. These new building types began to take on increasing importance to their societies. They still sheltered, but they did much more. At some point they became, in Johnson's words, "great architecture." 

The Wynn, LasVega
At some point architects began to all but abandon the need for shelter in their desire to design "great architecture." The need for basic shelter, however, still exists. While the $3.3 billion Wynn hotel is an example of great architecture, according to Johnson's definition, but we must not kid ourselves into thinking that it is an appropriate type of shelter for humanity. It is shelter for the 1%. For architects to truly impact the world, we must address the basic need for shelter for the other 99%. I do believe that we are starting to make inroads. This first became apparent to me after the profession's general embrace of Cameron's Sinclair's book "Design Like You Give a Damn." It also seems to me that the newest members of our profession have a deeper understanding of the power of architecture, and a desire to use it, than most of our form obsessed starchitects. We are starting to see examples of interesting examples of basic shelter coming out of creative design firms around the world. It is to humanity's betterment to see that trend continue and accelerate.


Reflecting on my writing of this post, it seemed somewhat ironic that I am only now writing about the connection to the basic need that is most closely akin to architecture. I have written several posts on the connections between food and architecture and a couple on the connection between clothing and architecture. Another seemingly obvious topic about which I have failed to write is of the connection between architecture and space. That will be the topic of the next post, Shaping Space.

Tuesday, February 28, 2017

Architecture & the Grid: Stick to It


Manhattan Street Grid
Architecture is not created through happenstance. It is planned. It contains a sense of order. The grid is a proven tool used by architects to achieve order. This post examines the connection between architecture and the grid.

As an ordering devise, the grid is not a unique to architecture. One need simply look out the window to the orthogonal pattern of the street grid in our cities or to observe green blocks of crops in the fields of the countryside. The grid as an ordering devise is pervasive. It is recurrent in mathematics, science, technology, art, and architecture.

Architecture is initially conceived in the brain, as a collection of concepts, thoughts and ideas. At this stage the architecture is chaotic. Despite Hollywood portrayals to the contrary, this chaos cannot simply be regurgitated into a fully formed work of architecture. There is a process. Those concepts, thoughts, and ideas have to make it to paper and the architect must employ his or her creative arsenal at the project. He must convert that chaos to order. Enter...the grid.

Parthenon, 432 BCE
I am not certain of the earliest use of the grid in architecture but the analytical Greeks were certainly advocates. A good architectural definition of the grid comes from architect and educator Francis D.K. Ching - "A rectangular system of lines and coordinates serving as a reference for locating and regulating the elements of a plan.The success of the Parthenon can be contributed to more than its form. It is also derived from its order. The underpinnings of the Parthenon, like many buildings that followed, is the grid. 

I would embrace Ching's definition even more if he were to omit from it the word "rectangular". It is certainly true that the grid is normally rectangular, but that does not have to be the case. Take for example I.M. Pei's East Wing Addition to the National Gallery. Here a triangular grid is used to great effect. As the visitor enters the east wing and overlooks the balcony, it becomes obvious that Pei has extruded the grid from the floor plane and superimposed it in three dimensional space. This is a skill possessed by our great practitioners. Wright was known for his use of grids, which included virtually any geometric pattern that could be construed with a 45 or 30-60-90 triangle.

At some early point in my career I ran across a book by Charles Woods, A Natural System of House Design, which makes an eloquent case for architects not to use the grid simply as a rough guide, but to really stick to it. Woods uses his own excellent residential projects to demonstrate the versatility and flexability of the grid. He speaks of the module, a sort of three dimensional grid, stating, "The module is the identity, form, essence, and being of the design in contrast to the becoming of matter of the built structure."

Since this blog is all about connections, I thought it might be interesting to close by passing along a connection between the use of the grid by two great designers - the late great graphic designer Massimo Vignetti and the talented architect Richard Meier.

letterhead design example by Vignetti
The Vignetti canon advocates the use of grids in the layout of everything from letterheads and business cards to books. Vignetti has been quoted, tongue in cheek, as saying that the grid is the "underwear" of the book. Vignetti's clean, minimalist design approach to book and magazine layouts did not go unnoticed by Meier, who retained Vignetti to document his works of architecture for his monographs. Flipping through the books is fascinating. As in Meier's architecture, the grid is not immediately conspicuous, but is definitely there. Once one detects and examines the grid, it presence and power becomes obvious. The text boxes and image boxed makes sense. Even the white spaces make sense. As in Meier's buildings, the grid serves as the underpinning of a project that really works!

Rochofsky Residence, Meier & Partners, 1996 
Rochofsky Residence, Meier & Partners, 1996 
Next month we will step back to look at the big picture of architecture, investigating how architecture fits with humanity's basic needs.  Join me for All architecture is shelter.

Tuesday, January 31, 2017

Architecture & Steel: The Impact of Steel

"The versatility of steel gives architects the freedom to achieve their most ambitious visions."
-Unknown

For decades after carbon was first added to iron, steel in architecture was used primarily as the bones of the building. Other materials were the skin. This was revealed in the previous post. The work of Mies' builidngs, where the structure was an essential part of the facade,  provided a segue for steel's transformation from bone to skin. This post explores the versatility of steel.

History often repeats itself. Just as Eiffel's tower had done almost ninety years earlier, Piano and Rogers' Centre Pompidou was initially despised and rejected, before becoming accepted then loved, by the Parisians. This building ushered in a new word to the architectural lexicon - high tech. It also launched the careers of two young architects who are among the greats practicing today, Renzo Piano and Richard Rogers. The building was completely unapolagetic in its use of steel ... exposed ...  inside and out. What made Centre Pompidou different was not that it was being used, but how it was used. It was expressed, and not only the structure but also the pipes, conduits, cables, and grates. It is as if the skin was peeled away.
Centre Pompidou, Piano & Rogers, 1977
Some architects such as Richard Meier chose to use steel in a more subtle way. Meiers' late modern projects featured painted steel beams and columns, steel window and door frames, and sleek nautical railings. The exterior voids are filled with large expanses of glass and the exterior walls are clad in porcelain steel panels, now part of the Meier brand.
The Athenium, Richard Meier, 1979
Shortly after Centre Pompidou opened its doors, Piano and Rogers went their separate ways. One of Richard Rogers first masterworks was a new headquarters building for Lloyd's of London. The building is enclosed with prefabricated stainless steel panels, which are connected to the exposed steel frame, like a giant erector set.
Lloyd's of London, Richard Rogers, 1986
In the case of the Lofts at Cherokee Stadium, there is no steel frame. The building is a fairly simple block of lofts. What sets this building apart it the metal scrim which is pulled away from the body of the building. In terms of function, the operable scrim opens up at strategic locations. They open up views, provide shade and privacy, and channel breezes. In terms of form, they create an interesting and dynamic facade, always changing.
Lofts at Cherokee Stadium, Pugh + Scarpa, 2009
 is also used in conjunction with other materials as well. 
The strength, durability, and versatility of steel, as a structural and cladding material, ensure that it will remain a preferred material among architects. A common ordering devise also used by architects for organizing building components, such as steel, is the grid. In the next post, Stick To It, we'll examine the grid and its connections and design.