Architecture And The Everyday - Essay Example

Architecture And The Everyday In his article "Architecture in Everyday Life," author Dell Upton defines the concept of ‘everyday life' as an entity of the ‘other', as something that can only be defined by what it is not. In making this definition, he points out how this definition can also be applied to the concept of architecture in terms of those areas that connect the spaces but yet are not provided with names as such to define them. However, in recent years, the concept has come to refer to architecture that somehow escapes the commodification/consumption paradigm of contemporary culture. In other words, everyday architecture is defined as the architecture that doesn't directly feed into the capitalistic structural ideas. These ideas emerged with Lefebvre, who refocused the gaze of architecture on the actual social use of space rather than the philosophical underpinnings of design. "In current architectural history, theory, and practice, then, discussion of every day takes place at the intersection of architecture and Architecture – of the study of the material setting of human life and of the narrower concerns of professional design" (Upton 708). This is the central idea explored throughout Upton’s essay. By examining what Upton means when he calls for a new concept of the ‘everyday' in architecture, it is necessary to first explore his concepts and then apply these to a living structure that demonstrates, though what it is as well as what it is not these concepts. After introducing his subject, Upton launches his discussion of every day into a description of how the term has come to be understood within the Architectural field. The big A is used to denote those architects who work according to an idealized, artistic and creative approach to design rather than those architects who find themselves working according to a prescribed set of objectives, such as those engaged in constructing tract homes. “In every case, professionally designed works are credited with a self-conscious sophistication, a subtlety, and a depth that are lacking in other kinds of building, which are consequently defined by what they are not. Professionally designed structure constitute extraordinary landmarks in a vast expanse of the ordinary” (Upton 709). This is not to say that other structures have not managed to achieve notice, but they are recognized as ‘primitive’ structures, outstanding because of their intuitive, ‘accidental’ use of design concepts in keeping with the needs of the structure’s use. In coming to the realization that Architecture as an art form is intrinsically linked with the forms of every day, Upton points out that the problem of every day became even greater as architects still found it difficult to discover the points of cohesion after spending so much time determining the difference. "Everyday space stands in contrast to the carefully planned, officially designated, and often underused spaces of public use that can be found in most American cities" (Margaret Crawford cited in Upton 711). While every day is full of potential use but becomes anonymous as a result, the carefully designed is rendered merely aesthetic in its specificity. In his examination of the various ways in which every day has been interpreted in the Architectural world, Upton continues to illustrate how it is discounted, rendered prosaic or otherwise distinguished as something other than art, yet its value is in its fundamental understanding of the interrelationship between the structure and the environment, the people and the uses to which it is employed. "As a result, when architects try to incorporate every day into their work, the results tend to be embarrassingly literal and decorative … In its commitment to old and new dichotomies, Architecture uses everyday life most confidently and most effectively as a rhetorical strategy – or a tactic" (Upton 713) rather than as a means of actually engaging with the everyday world. Having illustrated how the concepts of Architecture as an art form and architecture as a process of the everyday functions of living have separated, Upton uses the second half of his essay to argue for a new understanding of these terms that blurs the boundaries of each. He does this by first providing his readers with a visual image of the human body and its apparent separation but actual interaction with the rest of the world. “The body appears to be defined by a clear border, the enclosing envelope of skin. But the closer one looks, the more the border appears to be a boundary, and a very fluid one at that” (Upton 717). As the body breathes, eats and drinks, it is in constant interaction with the world around it, the world of every day, in much the same way that architecture, even Architecture, is forced to exist and interact within the world of the common. In extending this concept through various other theorists, Upton concludes “in the give and take of everyday life we learn the personal and social meanings of our agency. Repeated individual actions become practices and clusters of practices become social formations” (Upton 718). Thus, the Architecture of the self, one’s individuality and sense of uniqueness, is tempered by and understood by its relation to the architecture of the everyday. “Everyday life is not a system of representations or performances … but a ‘system of structured, structuring dispositions … which is constituted in practice and is always oriented toward practical functions” (Pierre Bourdieu cited in Upton 719). Important elements of the everyday emerge as being a concept of space and time as it is interacted with and interacts upon the individual concept of selfhood and society in a repetitious continuum that becomes instilled in bodily memory. The Brighton Jubilee Library is a good example of how these concepts of the everyday architecture are intimately fused with the aesthetic values of the artistic Architecture. Based on the ideas of Violet, the building represents form following function in both its interior and exterior design thus keeping its emphasis on the elements of its interactions with the world yet standing apart in the way it achieves this. Because the cost of the construction was funded by Private Finance Initiative (PFI) Funds, all of the materials used had to meet the standards of Viollet's economy of means criteria as well. Like Walter Gropius, combining the basic tenets of Viollet and Ruskin, the building is "light (i.e. skeletal), simple (i.e. minimal) and straightforward (i.e. explicit)" (Hearn, 2003, p. 246). Several of the main characteristics of architecture as engineering is evident in this structure, such as allowing many of the prime building materials to remain exposed, illustrating the importance of an honest expression of structure, and providing easy access to so-called servant areas that require more frequent replacement or maintenance than other, more permanent areas. All of this serves the necessary functions of every day, highlighting the building's requisite need to interact and remain accessible to the public. Although several of the functional aspects of the building are hidden, they are only hidden because of the importance of this location in the function of the more technologically advanced functions of the building itself, such as in the heating and cooling system. Like the concepts of earlier structures such as the Pompidou Center in Paris, the Jubilee Library allows the means to dominate over the ends of the building, but the way in which this is accomplished has been highly refined. More than simply allowing the actual building materials used in the construction of the building to be seen and celebrated, the Brighton Library has taken the concept of architecture as a part of the everyday another step forward by ensuring most of the materials used have at least a double function in the daily operation of the building, either by meeting specific user needs or to contribute to the overall function of the building’s processes even as they work to contribute toward the overall enjoyment of the aesthetics. As one approaches the building from the outside, this concentration on the engineering aspects of the building can be immediately discerned. The four-story building features an outer façade that seems all glass and beams and blue tiles made of local building material. Despite the seemingly technological old-school approach, this library actually features a stunning new approach to the use of old materials. The blue tiles are an economical alternative to tin used in similarly funded buildings while the glass sheets work in mathematical precision with the tiles to maximize the use or misuse of natural sunlight. "Heating bills during winter months are further reduced by the library's magnificent south-facing glass facade, with louvers specially angled to allow in winter sun but deflect it in the summer" ("Jubilee Library", 2006). Also visible from the outside are three large wind towers placed prominently on the roof of the building. "These are an integral part of the passive cooling system, drawing warmed air up and out of the structure. … High-efficiency heat recovery units capture heat from lighting, PCs, and people, recycling it back through the system" ("Jubilee Library", 2006). According to one of the designers, Nick Lomax, the towers are designed to "add to the flamboyance of the city skyline" as well as to "use the breeze to draw excess heat, especially in summer, up from the spaces below" (Glancey, 2006). The entryway itself does nothing to hide the construction of the building, but neither does it reveal explicitly how the building remains standing upon first glance. Consisting of little more than glass panels, the public room just inside the front doors extends three floors up and allows in an astounding measure of natural sunlight. Closer inspection of the interior, however, reveals the trick behind the magic. Once inside the doors, one can discern the tall concrete columns that both accentuate the height of the building and the wide open space in the center as well as support the ceiling high above. Somewhat reminiscent of the design by Franklin Lloyd Wright in his creation of the Johnson Wax headquarters building in Racine, Wisconsin (Hill, 1999, p. 186), the columns are brought out into clear focus and integrated as part of the design by being provided with fluted crowns that work to help support a soffit ceiling. This allows more daylight to filter into the building without allowing it to glare down on the visitors. While allowing these supports to remain completely visible, highlighting the everyday purpose of these structures as a means of keeping the ceiling up, these eight columns also serve another purpose. The exposed concrete of these columns, as well as the specially designed hollow-core concrete slabs that comprise each floor, plays a major role in the collection and circulation of heat and coolant. Warm air is allowed to rise through the columns and be sucked out of the building in warm weather while natural cooler air is filtered down through the evening hours with the help of the wind towers on the roof. By allowing the concrete to remain exposed, the building is able to draw heat during the day and pass it on the outside while slowly filtering cooler air into the rooms and keeping the building at an even temperature. This process is reversed in the winter with the concrete working to collect heat from the sun during the daylight hours and slowly releasing it into the rooms in the evenings. The heavy use of glass both outside and it provides for the uninterrupted transfer of light throughout the building, reducing the need for artificial light during daylight hours as well as providing a pleasing, floating appearance to users, again combining the ideals of function with the form for an imminently comfortable setting. This comfort level of the building for the users of it is an important aspect of the concept behind the combination of Architecture as art and architecture as a process of the everyday. By carefully constructing abstract spaces, in which the individual was encouraged and enticed to call on their own creativity to interpret and appreciate the space, it was argued that the common man would awake again to his own sense of self and self-worth, being further inspired to insist upon his own worth as a human being instead of another commodity on the market and make the connection between his everyday experience and the larger, or smaller, world of the artistically creative in his ability to appreciate and participate in this process. In recent years, the movement toward finding a balance between the concepts of everyday architecture as a necessary evil for meeting the needs of mankind and the formal structures of Architecture as a means of elevating human understanding into new realms of social understanding and expression has taken on the shape of Green Architecture, a shape that is eminently expressed in the design and function of the Jubilee Library as it stands both as an aesthetically pleasing piece of Architecture and an intimately linked and connected structure of architecture. Despite the cold iron and glass feel of the outside of the library, the building itself manages to convey instead a soft, welcoming feeling to its guests, partially because of its careful attention to its role as both influence and influenced entity. The way in which the building takes advantage of natural lighting from above and to the south only begins to illustrate the various ways in which it has been designed for user comfort and minimal energy usage in mind. "The top floor is a 'floating' floor, linked by bridges to the perimeter accommodation, allowing light to flood from the roof-lights above to the ground floor below. It is the main reading area with reference and information stock, and the perimeter accommodation includes a study area and a large computer suite and separate learning center" ("Jubilee Library", 2005). The use of daylight as a means of reducing the environmental impact is accentuated by the several skylights that run around the main halls as well as the automatic sensors embedded everywhere allowing artificial lights to be triggered only when absolutely necessary. In addition, the library was deliberately positioned with a south-facing front to maximize the potential use of natural light and to capture the greatest possible benefit from sun-generated heat during the winter months. "The sun's energy is gathered through the spectacular south facing front glazed wall in winter, with built-in solar shading and automatically opening vents to reduce solar gain and glare in summer" ("Jubilee Library", 2005). As is evidenced in the careful consideration of energy use in terms of available lighting, energy use has been minimized throughout the building with a design high on thermal mass and its solid, heavy structure. Exposed concrete floors are created with hollow cores that store heat throughout the floors and walls to be slowly released into their surrounding areas. This heat is collected from the equipment, such as PCs and lights, as well as people using the facility and re-used to heat the building when necessary again emphasizing its interconnectedness with the world around it as well as the artistic and creative use of its design structure. In addition, concrete on the outside is able to collect the heat of the day and transfer it to the inner reaches of the library to maintain consistent air temperature. Air conditioning for the building is accomplished in a similar way, with the sea breezes outside being collected by the three large wind towers positioned on the roof. These cooler breezes are then circulated down into the building at the same time that the warmer air is drawn to the outside. Finally, although it isn’t as obvious, the toilets in the facility operate through the collection and recycling of rainwater from the rooftop. Built with very limited resources, the library stands now as a shining example of the dedication and hard work of a number of professionals who refused to sacrifice the creativity of the design to the constraints of the budgetary process even as they kept in mind the everyday usage and nature of the structure. Although the building did come in on budget and on time, it nevertheless reflects a high degree of beauty and imagination. The front area is described by Glancey as being "quietly dominated by a glorious, temple-like building-within-a-building that, raised up on concrete columns and crowned by polished concrete vaults, houses the upper floors of the library. These vaults made me think of some half-remembered Egyptian temple" (Glancey, 2006). According to the designers themselves, the effect they were trying to reach included the conveyance of the idea that this was both an important building housing serious materials as well as an accessible public institution meant for all users to enjoy – a sense of Architecture as a form of deified art as well as architecture as every day. Thus, although politics dictated a small budgetary allowance for the construction of a large building and current design practices place a great deal of emphasis on the engineering rather than the aesthetics of a particular work, the architects of the Jubilee Library in Brighton were able to mesh all of these concepts with a design that served the common man and his need for aesthetic beauty, proving Upton’s point that the everyday architecture should not be and perhaps cannot be separated from the concepts of aesthetic Architecture as a serious venture. The library can be seen to strongly grasp the importance of showing the structure in engineering and materials used as it proudly displays its support columns, glass and tile curtain walls and concrete slab supports. It meets with the budgetary constraints of the political powers that be in its use of inexpensive and locally acquired materials even as it focuses attention on the need to create ‘Green Architecture' that reduces the building's impact on the environment through a variety of means that also function to reduce the cost of daily operation. Through these devices, it accomplishes this intense understanding of its need to interact with and be interacted upon by its surrounding environment, including the people it serves. Yet, even as it accomplishes all of these feats, it remains an aesthetically beautiful building that inspires the creativity and the imaginative use of the structure by the local population, encouraging thought and reflection by its simple existence and meeting the requirements of the more aesthetically minded Architects in their need for adhering to theory, philosophy and the principles of design. It becomes easy to see why this building has been the focus of much discussion and the recipient of numerous design awards. In its successful construction, it has accomplished more than many buildings ever hope to achieve in its simple acknowledgment of the intrinsic presence of every day in the extraordinary. References Glancey, Jonathan. (2006). “Sweet and Low Down.” Guardian Unlimited. Retrieved April 15, 2009, from Hearn, Fil. (2003). Ideas that Shaped Buildings. Cambridge, MA: The MIT Press. “Jubilee Library.” (2005). Designing Libraries. Retrieved April 15, 2009, from “Jubilee Library, Brighton.” (2006). The Concrete Centre. Retrieved April 15, 2009 from < http://www.concretecentre.com/main.asp?page=1207> Upton, Dell. (2002). “Architecture in Everyday Life.” New Literary History. Vol. 33: 707-723. Read More