This course is focused on the tectonic studying and thinking the construction and
detail design of Masters’ works of Modern architecture. The discussion in this class
would thus go beyond the technical consideration about material and size.
當代構造研究，應說是探討有關「構築思維」(tectonic thinking)的嘗試，這不是構造方式、細部收頭而已，這意思是說不只是有關材料與尺寸的範疇。
‘Tectonic thinking’ covers ideas on time and space, such as contended by Sigfried Gidieon. Or we may say it is concerned with the idea of time and space. Luis Kahn makes distinction between form and design with the example of spoon. For him the ‘form’ of spoon is constituted by scoop and handle, whereas the ‘design’ of spoon may vary in material such as silver, porcelain or steel and in shape such as round or shallow.
用以定義現代建築的概念，他認為現代世界的空間是必須結合時間； 形式(form)則是與設計(design)結合一起談的，這是路易斯康(Louis Kahn)所主張的區分，所以建築的形式是指導設計的基本圖式(schema)，他說湯匙的形式是勺與柄兩部分構成，至於勺是圓的或橢圓的、用銀製或瓷器、柄是方的、扁的、用木製或銅製等等就是設計的範疇。
In short, in this class we would study together the tectonic idea embedded in the master architects”works, which may be formulated as what follows:
我在這堂課所要探討的就是這幾個範疇加在一起的構築思維，它與時間-空間，設計-形式有關，所以---
tectonic idea = (material + size) x 【 (time-space) vs. (design-form) 】
And I would propose that the tectonic idea is where the architectural core-value lies. Here comes the artistic and spiritual experience through the precise arrangement of the tangible materials. This quality results in the autonomy of the profession, sometime even transcends the social or moral concern.
我認為這就是建築的核心價值，是建築專業最根本的精神所寄，或者說，這就是建築的藝術性-精神性-靈魂-文學經驗，這裡就存在著建築做為一項專業的自主性所在，這與「空間專業不應是價值中立」的主張是屬於不同層次的，前者是屬於藝術性層次的，後者是屬於社會性層次，我想這兩者構成建築的倫理性價值。
Architectural Ethics = Artistic Signification + Societal Signification
建築的倫理性 = 建築的藝術性意義 + 建築的社會性意義
This course is focused on the tectonic studying and thinking the construction and
Detail design of Masters’ works of Modern architecture. The discussion in this class
would thus go beyond the technical consideration about material and size.
Contemporary structural research should be said to be an attempt to explore "tectonic thinking". This is not just a structure method or a detailed closure, which means it is not just a problem of material and size.
‘Tectonic thinking’ covers ideas on time and space, such as contended by Sigfried Gidieon. Or we may say it is concerned with the idea of time and space. Luis Kahn makes distinction between form and design with the example of spoon. For him the ‘form’ of spoon is constituted by scoop and handle, whereas the ‘design’ of spoon may vary in material such as silver, porcelain or steel and in shape such as round or shallow.
To define the concept of modern architecture, he believed that the space of the modern world must be combined with time; form is discussed in conjunction with design, which is the division initiated by Louis Kahn, so the form of a building refers to the basic schema of design. He said that the form of a spoon is composed of two parts of a spoon and a handle. As for the spoon being round or round, made of silver or porcelain, the handle is square, flat, made of wood or copper, etc., it is the design pattern.
In short, in this class we would study together the tectonic idea embedded in the master architects”works, which may be formulated as what follows:
What I want to explore in this class is the structural thinking of these several patterns added together. It is related to time-space, design-form, so---
tectonic idea = (material + size) x 【 (time-space) vs. (design-form) 】
And I would propose that the tectonic idea is where the architectural core-value lies. Here comes the artistic and spiritual experience through the precise arrangement of the tangible materials. This quality results in the autonomy of the profession, sometimes even transcends the social or moral concern.
I think this is the core value of the building, which is the most fundamental spirit of the architecture profession, or in other words, this is the artistic-spirit-spirit-literary experience of the building. Here there is the autonomy of the building as a professional. The initiative of "space profession should not be value-neutral" belongs to different levels. The former belongs to the artistic level, and the latter belongs to the social level. I think these two form the ethical value of the building.
Architectural Ethics = Artistic Signification + Society Signification
The ethics of a building = the artistic meaning of a building + the social meaning of a building
Key Reference:
FORD, E.R. The Details of Modern Architecture. Vol. 1,2. Cambridge, Mass.: The MJIT Press, 1991, 1996.
FRAMPTON, Kenneth. Studies in Tectonic Culture: The Poetics of Construction in Nineteenth and Twentieth Century Architecture. Cambridge, Mass.: The MIT Press, 1996.
Suckle, Abby. By Their Own Design. New York: Whitney Library of Design, 1980.
HARTOONIAN, Gevork. Ontology of Construction: On Nihilism of Technology in Theories of Modern Architecture. Cambridge: Cambridge University Press, 1994.
Key Reference:
FORD, E.R. The Details of Modern Architecture. Vol. 1,2. Cambridge, Mass.: The MJIT Press, 1991, 1996.
FRAMPTON, Kenneth. Studies in Tectonic Culture: The Poetics of Construction in Nineteenth and Twentieth Century Architecture. Cambridge, Mass.: The MIT Press, 1996.
Suckle, Abby. By Their Own Design. New York: Whitney Library of Design, 1980.
HARTOONIAN, Gevork. Ontology of Construction: On Nihilism of Technology in Theories of Modern Architecture. Cambridge: Cambridge University Press, 1994.
| 評分項目 Grading Method | 配分比例 Grading percentage | 說明 Description |
|---|---|---|
| Class work 20次Class work 20次 Class work 20 times |
40 | |
| Project work 4 次Project work 4 次 |
20 | |
| Final presentation 1份Final presentation 1份 Final presentation 1 serving |
40 |
