《设计基础》课程教学资源（电子图书）Basics Architecture：Construction and Materiality.pdf_大学文库

02 construction +materiality Basics Architecture 0202 Lorraine Farrelly Lorraine Farrelly is deputy head of the University of Portsmouth’s School of Architecture, where she teaches degree and postgraduate courses in both architecture and interior design. Also a qualified architect, Lorraine has experience of working on both largescale and smaller-scale architectural projects, ranging from the interior modelling of bars, restaurants and retail spaces, through to designing residential and school buildings and public spaces. Lorraine lectures extensively on representation in architecture and urban regeneration. Featured topics Origins and chronology Cultural context Material context Applications Key directions Innovation Sustainability The future Material samples Featured contributors Berthold Lubetkin Charles and Ray Eames Daniel Libeskind de Rijke Marsh Morgan (dRMM) Eric Parry Architects Fosters + Partners Frank Gehry Glen Howells Architects Grimshaw Architects Patrick Blanc Schultes Frank Architekten Sean Godsell Architects Stanton Williams Studio KAP Wiel Arets Architects Woolf Architects Zaha Hadid Architects ava publishing sa sales@avabooks.ch www.avabooks.ch BASICS ARCHITECTURE BASICS n the matter from which something is or can be made Lorraine Farrelly ARCHITECTURE n the action or process of constructing a building or other structure construction + materiality This second book in the Basics 02 Architecture series explores the origins, context and application of building materials such as stone, brick, concrete, timber, steel, glass and composite materials in architectural design. Construction + Materiality also takes a look at the future of construction and materiality in architecture, paying particular attention to issues of sustainability and innovation. Supported by examples from both classic and contemporary architects who have championed the use of the materials under discussion, and whose work is very much characterised by the application of its principles, Construction + Materiality provides an invaluable resource tool for students and architectural professionals alike. It offers an accessible introduction for anyone interested in architectural design and material application. Other titles in AVA’s Basics Architecture series include Representational Techniques, History and Precedent and Sustainable Architecture. For further details see www.avabooks.ch SPINE=15mm UK_TB UK Cover A V A • B a s i c s A r c h i t e c t u r e : C o n s t r u c t i o n + M a t e r i a l i t y CD1108-61 / 4239 4th Proof C+M cover_UK_ 11/12/08 10:26 AM Page 1

Introduction Materials create an ambience and provide texture or substance to architecture.To understand how to use materials effectively,a designer needs to have an understanding of precedent or how materials have been used historically and an awareness of innovations in material application.Both can provide a useful way to develop a range of design approaches. Construction Materiality introduces the ideas that'make' architecture and the materials used to create and define spaces.The structure(or frame)that supports a building can be considered to be analogous to the skeleton of a body,and the materials that the structure holds in place akin to the tissue and skin that define a body's shape and specificity.In this way,construction techniques and materials are the starting point for architectural design;they create the possibilities for shape,form and space. Project:Leslie L Dan Pharmacy Building,University of Toronto For an architect to use materials effectively,a sound Location:Toronto,Canada understanding of construction methods and practices Architects:Foster+Partners with Moffat Kinoshita Architects is essential.Construction methods and materials can be Dates:2002-2006 expressed in such a way that they immediately reveal the architectural idea behind a building.But not all architecture This building has been carefully designed to sensitively respond to is 'true'and the idea of 'truth to materials'is an essential its immediate surroundings.Its main consideration when understanding architecture. mass is elevated above a 20-metre, five-storey,colonnaded circulation In architectural terms,to be'true'is to be honest.A building space.Two coloured pods are that uses brick to construct a wall,which in turn supports suspended within this space,the larger of which houses a 60-seat a roof,is using materials honestly.A steel-framed building lecture theatre and a reading room, that incorporates a brick wall is not necessarily true to its with the other housing a smaller materials because there is a sense of'hiding'the building's classroom and the faculty lounge. real structure and creating an illusion of another sort of architecture.A building's structure does not always have to be obviously revealed:sometimes an architect may want to create a sense of illusion as part of his or her design idea (for example,to make a heavy material appear light by introducing a steel beam),but to make a concrete or steel framed building appear like a brick building conflicts with the idea of 'truth'to materials. In addition to the concept of architectural 'truth',some materials are strongly connected to their place or origin. Stone,for example,belongs to the ground where it is found or quarried.Similarly,timber is a resource that is part of a natural landscape.Other materials,such as concrete and glass,are much less connected to the identity of a location

prelims (1-11)_.qxd 10/4/08 1:43 PM Page 6 Construction + materiality Introduction Materials create an ambience and provide texture or substance to architecture. To understand how to use materials effectively, a designer needs to have an understanding of precedent or how materials have been used historically and an awareness of innovations in material application. Both can provide a useful way to develop a range of design approaches. Construction + Materiality introduces the ideas that ‘make’ architecture and the materials used to create and define spaces. The structure (or frame) that supports a building can be considered to be analogous to the skeleton of a body, and the materials that the structure holds in place akin to the tissue and skin that define a body’s shape and specificity. In this way, construction techniques and materials are the starting point for architectural design; they create the possibilities for shape, form and space. For an architect to use materials effectively, a sound understanding of construction methods and practices is essential. Construction methods and materials can be expressed in such a way that they immediately reveal the architectural idea behind a building. But not all architecture is ‘true’ and the idea of ‘truth to materials’ is an essential consideration when understanding architecture. In architectural terms, to be ‘true’ is to be honest. A building that uses brick to construct a wall, which in turn supports a roof, is using materials honestly. A steel-framed building that incorporates a brick wall is not necessarily true to its materials because there is a sense of ‘hiding’ the building’s real structure and creating an illusion of another sort of architecture. A building’s structure does not always have to be obviously revealed: sometimes an architect may want to create a sense of illusion as part of his or her design idea (for example, to make a heavy material appear light by introducing a steel beam), but to make a concrete or steel framed building appear like a brick building conflicts with the idea of ‘truth’ to materials. In addition to the concept of architectural ‘truth’, some materials are strongly connected to their place or origin. Stone, for example, belongs to the ground where it is found or quarried. Similarly, timber is a resource that is part of a natural landscape. Other materials, such as concrete and glass, are much less connected to the identity of a location Project: Leslie L Dan Pharmacy Building, University of Toronto Location: Toronto, Canada Architects: Foster+ Partners with Moffat Kinoshita Architects Dates: 2002–2006 This building has been carefully designed to sensitively respond to its immediate surroundings. Its main mass is elevated above a 20-metre, five-storey, colonnaded circulation space. Two coloured pods are suspended within this space, the larger of which houses a 60-seat lecture theatre and a reading room, with the other housing a smaller classroom and the faculty lounge. TEXT BLACK (AVA): Basics Architecture C + M CD1008-10 / 3173 ~ 1st Proof prelims (1-11)_.qxd 3/11/09 5:44 PM Page 6

prelims (1-11)_.qxd 10/4/08 1:43 PM Page 8 Construction + materiality Introduction or specific place. Instead, they are part of an industry that manufactures materials, using raw ingredients that can belong and be made anywhere. Increasingly, contemporary designers are taking materials from different contexts and environments and applying them inventively in architecture. Materials from the world of product, fashion and furniture design are being considered for interior and exterior architectural applications. The standard convention of using traditional materials for building is changing as issues of cost and sustainability become ever more important. Thinking carefully about which materials to source and specify, how far they have travelled and whether they can be recycled or reused is the responsibility of the architect when designing a building or space. An architect needs to understand the nature of materials and their possibilities and limitations before they can be used to create buildings and spaces. This book introduces traditional, manufactured and more contemporary materials. Each chapter describes a particular material (or materials) in terms of its historical development and in the context of its application. This is accompanied by a canon of work from a ‘grand master' who has championed the development of an architecture associated with the material. Practical case studies from a range of contemporary architects will demonstrate the innovative use of materials at various scales. The final chapter of the book explores issues of sustainability, innovation and the future of materials and construction techniques. As an architect, understanding the changing nature of materials is critical. To be aware of the range and properties of the materials at your disposal is to extend the possibility of your design potential. ‘Let every material be true to itself… brick should appear as brick, wood as wood, iron as iron, each according to its own statistical laws.’ Gottfried Semper TEXT BLACK (AVA): Basics Architecture C + M CD1008-10 / 3173 ~ 1st Proof prelims (1-11)_.qxd 3/11/09 5:44 PM Page 8

48 | 49 prelims (1-11)_.qxd 10/6/08 1:46 PM Page 10 Cultural and material context Concrete Origins and chronology › Cultural and material context › Application Unlike other construction materials, which may strongly connect with the place of their origin, concrete is made from ingredients that can now be mixed anywhere. This not only makes it flexible in terms of manufacture, but also does not restrict the material to a particular location. This affords concrete a sense of anonymity, which means it is much less limited by traditional ideas and concepts than other materials: it can be anything, anywhere. Notwithstanding this, the use of concrete in architecture is (usually) still informed by local ideas of construction, form, function and other aspects of context. Concrete and the era of Modernism The prominent Modernists of the early 20th century, notably Le Corbusier and Auguste Perret, exploited the flexibility of concrete to create new forms and shapes. They designed cities for the future that contained strong, bold and tall structures all made from concrete. Project: Chapel Notre Dame du Haut (right) Location: Ronchamp, France Architect: Le Corbusier Date: 1954 Le Corbusier’s Chapel Notre Dame du Haut at Ronchamp uses concrete to create a dramatic and sculptural form on both the exterior and interior spaces. The building is punctured with holes filled with coloured glass and these bring light into the chapel illuminating the interior space. The building appears as a sculptural element in the natural landscape. Continuing this tradition, Brazilian architect Oscar Niemeyer uses concrete in his designs to respond to organic forms in the landscape. Niemeyer extends the landscape and topography with his architectural ideas, producing dramatic shapes on rolling planes or landscapes that are made from carpets of concrete. In South America, Luis Barragan introduced colour to his architecture to connect his building designs and materials with the traditional colours found in the landscape and culture of the region. Barragan’s architecture has been described as similar to an abstract painting with wall surfaces coloured to contrast against one another and sharp coloured walls framing views across landscapes. His architecture is about the surface experience, walls that are rendered in cement and then painted, to create abstract planes. Contemporary 21st century architecture uses concrete to create ever taller, more dramatic statements. Daniel Libeskind, for example, specified the use of concrete in his designs for Berlin’s Jewish Museum to dramatise and accentuate the Jewish experience in wartime Germany, producing both a provocative and commemorative result (see page 40). Concrete is the substance of our new buildings, our greatest edifices and our skyscrapers, and it will challenge the future of architectural forms. Yet even so, the adaptation of concrete to respond to local cultural and climatic issues is essential for its survival. Topography Topography is concerned with local detail in general, including not only relief but also vegetative and human-made features, and even local history and culture. This meaning is less common in America, where topographic maps with elevation contours have made ‘topography’ synonymous with relief. The older sense of Topography as the study of place still has currency in Europe. Title: Ciudad de las Artes y las Ciencias (facing page) Location: Valencia, Spain Architects: Santiago Calatrava Date: 2001 The Ciudad de las Artes y las Ciencias is an urban cultural centre. It reacts to the local environment and uses white concrete to contrast with the blue Spanish skies. The concrete is used with local tile to connect the finish with traditional industries. Information panels Provide additional information about technical terms that are used in the body text. Construction + materiality How to get the most out of this book Introductions Each unit’s introduction appears in bold text and outlines the concepts that are to be discussed. Captions Provide contextual information about each featured project and highlight the practical application of key principles. Section headings Each chapter unit has a clear heading to allow readers to quickly locate an area of interest. This book introduces different aspects of construction and materiality in architecture via dedicated chapters for each topic. Each chapter provides examples of different construction techniques and materials at various stages of the architectural design process. The examples shown here are contributions from a range of contemporary architects and, together with detailed analysis in the text, form a book that offers a unique insight into the practical and professional world of architectural design. Chapter navigation Highlights the current chapter unit and lists the previous and following units. TEXT BLACK (AVA): Basics Architecture C + M CD1008-10 / 3173 ~ 1st Proof prelims (1-11)_.qxd 3/11/09 5:44 PM Page 10

118 |119 56 | 57 10 | 11 prelims (1-11)_.qxd 10/6/08 1:46 PM Page 11 Concrete The Church of the Light Tadao Ando’s Church of the Light in Osaka, Japan (1988) is an example of a cultural building that embraces ideas of geometry and spirituality. Many of Ando’s previous projects were simple houses constructed to make use of courtyards to bring light into the interior spaces, but geometry, minimal, modern design and the use of concrete with a high level of craftsmanship are values evident throughout his canon of work and exemplified in The Church of the Light. The church is aptly named as the chapel is illuminated by light. The building is comprised of two rectangular volumes, that are both cut at a 15-degree angle by freestanding concrete walls. Worshippers and visitors indirectly enter the church by slipping between the two volumes. One volume contains the Sunday school and the other contains the worship hall. A cruciform cut in the concrete wall of the worship hall extends vertically from floor to ceiling and horizontally from wall to wall, aligning perfectly with the joints in the concrete. It is a simple device, but an effective definition of the space, and at night the cross creates an illuminated symbol on the outside of the church as light from within pours outside. Both the worship hall and the Sunday school use wood to soften the interior spaces, but The Church of the Light is all about contrast. The Sunday school opens up to a doubleheight space with a mezzanine level and its interior utilises a lighter-coloured, smooth-finish wood. The combination of concrete and wood creates a modern, spiritual atmosphere that focuses on light within to encourage a contemplative inward experience. The Church of the Light is superbly crafted. The smooth finish of its concrete surfaces reflect light into the interior spaces and the building reveals its construction processes via traces of the joints and bolts that held the shuttering in place, leaving tactile impressions on the smooth, grey walls. Tadao Ando Grand master An interior view of the worship hall Significant projects 1976 Azuma House, Sumiyoshi, Osaka, Japan 1976 Tezukayama Tower Plaza, Sumiyoshi, Osaka, Japan 1983 Rokko Housing One, Kobe, Japan 1986 Chapel on Mount Rokko, Kobe, Japan, 1988 The Church of the Light, Osaka, Japan 1989 Children’s Museum, Himeji, Japan 1992 The Japanese Pavilion for Expo 92, Seville, Spain 1993 Vitra Seminar House, Weil am Rhein, Germany 1995 Meditation space, UNESCO, Paris 1999 Rokko Housing Three, Kobe, Japan 2000 FABRICA Benetton Communication Research Center, Treviso, Italy 2001 The Pulitzer Foundation for the Arts, St. Louis, Missouri, USA 2002 Modern Art Museum of Fort Worth, Fort Worth, Texas, USA How to get the most out of this book Images Examples from architects and designers bring the principles under discussion to life. Body text In-depth discussion of working methods and best practice is covered in the book’s body copy. Grand master pages Focus on the work of an architect who has championed the use of a particular material. Case study pages Focus on a project or build that demonstrates an innovative use of materials. Timelines Provide details of significant projects in an architect’s canon of work. Quotes Provide key insight from professional architects. TEXT BLACK Case study Foster + Partners | The McLaren Technology Centre Glass and steel Grand master: Ludwig Mies van der Rohe › The McLaren Technology Centre The McLaren Technology Centre is the corporate and manufacturing headquarters for the McLaren Group. Designed by Foster+Partners, the group’s state-of-the-art centre is located in Surrey, England. Foster+Partners are renowned internationally for their approach, which combines functional architectural design with an elegance in engineering. This combination produces expressive buildings that envelope and contain function, but challenge preconceptions of space via the innovative use of building materials. The design brief The McLaren headquarters fits the paradigm of a Foster + Partners building. McLaren depends on the continued development of high technology in order to produce some of the fastest Formula One cars in the world. The architecture that would become the company’s headquarters needed to reflect this technological sophistication and serve as a ‘laboratory’ for McLaren’s innovation. McLaren came to the architects with a number of preconceptions, not about what the architecture should look like, but what the spirit of the building, its aspirations and its social generators should be. The building’s site plan shows the scheme within its context, surrounded by a lake and carefully organised planting Foster + Partners were asked to ensure that the headquarters would house the majority of the McLaren Group’s employees (who had been previously scattered across 18 locations in Surrey). The architects worked with the client to respond to their working methodology and processes to ensure that the building could accommodate their experimental, developmental and manufacturing needs. There was a natural synergy between McLaren and Foster+ Partners and in determining what the architect and client, both of whom came from very different design disciplines, wanted to achieve. ‘As architects, my colleagues and I had been engaged for many years in meeting the challenge of social, technological and lifestyle change, the way they interlock and looking at the re-evaluation of the workplace as a good place to be. This inspiration has permeated down into the building itself.’ Sir Norman Foster An exterior view of the McLaren headquarters (AVA): Basics Architecture C + M CD1008-10 / 3173 ~ 1st Proof prelims (1-11)_.qxd 3/11/09 5:44 PM Page 11