Frampton discuss the disposition of current tectonic form that aims toward scenographic that accommodate with all the repercussion that signify the future environment. He adds that the doctrine governing has altered from being the autonomous realm of techno-science to extremely insubstantial. Architecture needs to be divided into structural and constructional form to find its equivalent foundation. There exist the figurative origins of abstract art and the constructional basis of tectonic form.
TECTONIC
- Technological Object
- Scenographic Object
- Tectonic Object
- Ontological – constructional elements: represent the static role and cultural status
- Representational – constructional elements: represent the present, but hidden
STEROTOMICS
- Compressive mass
- Common materials: wood and brick (represent the interest of permanence)
Fundamental syntactical transition may occur if one passes from the stereotomic base to tectonic base, which also evoke the essence of architecture.
The difference between:
- Kernform (nucleus)
o Address the fabric of a structure
- Kunstform (decorative cladding)
o Symbolize the institutional status of work
Through the concept of site and the principle of settlement (in structural terms), environment becomes the essence of architectural production. Tectonic dissolves between the culture of the heavy-stereotomics and the culture of the light-tectonics symbolizing load-bearing crafts and tends towards the earth and opacity and the dematerialized a-frame and tends towards the sky and opacity respectively.
“BREAK” vs “DIS-JOINT”
- Things break against each other rather than connect: indicates the essential part at which the materials end to give way to another unexpectedly.
- Rupture may have just as much significant as connection
Frampton conclude that tectonic advocate itself as a mythical classification and the critical myth of tectonic joint subject to the unaffected passage of time as well as separated from the continuity of time.
No comments:
Post a Comment