Australian Architectural History and Theory - Essay Example

ustrаliа Аrсhitесturаl Нistоry аnd Тhеоry First Name Last Name Course November 2, 2014 Introduction when considering Australia as a setting for building immediately the issue of climate cannot be, ignored, or held in contempt. There is a need to create and build structures that comfortably add to the landscape or where possibly simulate the setting. In view of a tectonic culture, the Australian landscape is, spanned by buildings different from the rest of the world mostly because of the weather. However, what is most visible is the courage in part to introduce and use different materials for building. The aim of this piece is to examine how Brit Andresen O'Gorman works represent a new dimension in tectonic advancement. In comparison to Glenn Murcutt works, which equally are aggressive in their introduction of tectonic features in the view of various critiques. The paper first starts by defining the tectonic culture and then proceeds to discuss the two parties involved before running a comparison between the two separately. The tectonic The tectonic tradition is among the first and the most sustainable designs iconic to the Australian Landscape. Though viewed with suspicion and rejection in Australia tectonic adventure in construction has boldly become stronger as architects continue to use its template in creation and establishment of marveling works. It is a fact only countries like Japan are of the same belief tectonic designing has consistently updated itself to fit anxiously into the dynamic constricts of modernism. Defining Teutonic Phillip, (1985, 45), states that, Kenneth Frampton defines tectonic, as the sure way of expression picking up from a consistent resistance of its form of construction. In a way that the resulting forms or expression is unaccountable in terms of development and structure. This use of material to construct vibrant divergent forms is the iconic image of what has come to be, identified as Australian architecture. (Martins 1999, 141) Define, tectonic as the active, involuntary, and imaginative projection of oneself into an architectural creation, in whose absence architectural practice would be reduced to associative or intellectual process. Keeping with this (Leatherbarrow, 1997, 98) indicates the difficulty in defining the Teutonic is, embodied in the fact that the tectonic has always changed and updated its meaning constantly. Primarily derived from Karl Boetticher’s argument as a form (art) where he referred to the external nature and utility. These are supported by, Gottfried Semper’s argument that the Teutonic was masking of a building to cover up underlying structure from reality (Pallasmaa, 1995, 430). Vallhonrat, (1988, 123) says that tectonics’ rely on few essential factors of the material world. The first one being gravity and the physics that establish the laws of gravity while, the second one is the materials we the constructors or builders have. Thirdly is the way we use the material together, the effects we put and the way they appear from the surface on the particular bound space. Giving an example of this Pallasmaa, (1995, 430) points at the enormous cylindrical walls of the famous Castel Sant Angelo. He observes how the surface appears laced with artistic arcs embedded in contiguous arcs resting on common points that the rest on top of other arcs below in complete defiance to gravity. Supporting these arguments further Hale, (2000, 92) points to the four elements that define the architecture. These are framework and earthwork two primary forms that are the basis for what we know as architectural knowledge. Andresen & O ‘Gorman Analysis Andresen & O ‘Gorman maintains a rather serious approach to the landscape in terms of the material he chooses to use and in particular, the style of construction he pursues. However, it is important to state that Andresen & O ‘Gorman is an authentic supporter and follower of the Teutonic traditions. One factor however that actually sets the pair apart is their ability to integrate and use climate and existing environment to reproduce repeatedly architectural works that integrated earthwork and framework. Dickson, (2005) asserts Andresen & O ‘Gorman celebrate a combination of surrounding material and structure. As in the case of the Rosebery House in Brisbane that responded to the surrounding environment, by showing views and creatively masking views. As showcased in the case of Rosebery, house. Depicted by Pallasmaa, (1995, 485) Andresen & O ‘Gorman used the wood to screen the interior by veiling the building revealing enough and taking away as much. Elaborating how far the pair goes in harmonizing their structures to the surrounding. As in the case of the Rosebery house, the design of the house bridges the gap between the dwelling and the existing landscape. In a way, it does not negatively affect the topographic setting but fits in silently causing no disturbance to the background. The extensive frames of wood in a way imitate the trees, only allowing outside atmosphere and sunlight to filter through, in text tile tectonic pattern. Glenn Murcutt Analysis According to Frampton as Philip, (1985, 45) states Murcutt works of architecture represented dialogue and humility. It highlighted a process of interchanging between the landscape, the nature, and the client without ignoring the cultural immediate local traditions. The result was a unique establishment of topography, geography together with natural phenomena in response to the functional demands of life and use. Note, 1, state one can clearly see how empathy is, established with the surrounding environment covered with plants closely tweaked to connect the classical and the primitive. One notable factor about Murcutt was his ability to articulate and combine architectural elements with natural elements in the absence of ventilation mechanical systems. Vaughan and Michael (2014, 2) state that Murcutt managed to in a way conduct an orchestra with climate by applying and using different shades of light and temperature manipulation in design and construction. The final forms were not only natural but also tuned to relate with a man on a day-to-day, hour-to-hour basis. He in his way led to organize and embrace nature as a delicacy by gratifying and embodying the landscape in a journey that projected both rational poetic lyrical expressions of living space. One example that exemplifies this argument is the Magney house, which is rises from the desert to combine the sea and the dessert from its seaside setting. The Magney house manages to bring together the contours behind it to combine with the tilted aluminum frames on its front. Additionally blinds made from aluminum follow light vigorously creating a long lasting relationship between the site and the people. Everything from the curved roof to the supported by tubular bent steel structures in addition to aluminum materials was all defined to take advantage of the environment that brought enough light inside the building. McCartney, (2011), states that Murcutt understood the issue of climate in Australia. His works are all the embodiment of climate refined to fit together with his buildings in harmony. Most of Murcutt designs are, formatted in a manner that not only is provided for the Australian environment but artistic and accurate to the Teutonic traditions. From t building material to design of the buildings, Murcutt repeatedly reinstates his position by building and choosing designs that integrate successfully with the surrounding Australian environment. Glenn Murcutt comparison to Andresen & O'Gorman: Glenn Murcutt works are adversely similar to Andresen & O ‘Gorman both are inventive, surprising and in their creations. Both use climate and landscape repeatedly to their advantage. The houses in their manner present privacy while revealing the outside in an evocative relaxed style. These apply in the materials chosen on timber, steel, iron, cement sheet, fiber, and plywood in addition to other building forms (Philip and Patrick, 2001, 45). Asserts that buildings display their structures legibly, by the way, the fixings and planes come together in the works. These causes some critics to call them assembled houses because of the way the smaller elements are, expressed. It is clear is the way the exterior form is used to show the interior spaces. The panning and spaces stay side to side with ease without any forcing to achieve Teutonic overall forms. Both the Murcutt and Andresen & O'Gorman in a way construct and express tension and thinness in profound contrast to how heavyweight and lightweight counterpoints involved. The heavy weight parts come together to act as holders for the lightweight parts to show themselves. Didelon, (2005) however, does point out to the experimental attitudes to building that does not shy from pushing the existing boundaries of the construction. However, Murcutt is more open to bringing in new material like aluminum to blend with existing landscape Andresen & O'Gorman, on the other hand, choose to use the surroundings more aggressively than his counterpart. Considering the Australian climate, both architects go an extra mile in taking advantage of the existing environments. However, it is clear that Murcutt and Andresen & O'Gorman do approach these rather differently in a way. While both use blinds to let, light into the buildings they approach the elements completely differently from one another. Murcutt approach introduces a building that is different from the environment, but designed in a way that it enhances the landscape. On the other hand, Andresen & O'Gorman thoroughly blend their buildings into their settings so that they become like natural occurrences to the setting Dickson, (2005). It is surprising how similar the houses the diversity of appearance keeps showing up like a constant shadow. These are because of the construct elements that enforce designing principles above the codes and the introduction of style. Conclusion The need for the continuance of the tectonic tradition cannot be, stated enough. In its absence, we are, left with dull alien buildings that have no respect to the nature or the surrounding environment. Both Andresen O'Gorman and Glenn Murcutt do not shy away in applying the tectonic extremes. In their quest, they come up with creations that highlight the human ability to originality while at the same time the diversity in all of us. It is only the principle of construction that comes in to ensure similarities. Between the two, though both show a lot of respect for the Australian climate and equally in a diverse way endorses the landscape by the subjective introduction of new buildings to enhance and add to the natural. Works Cited Dickson, Barney. Biodiversity and the Precautionary Principle: Risk and Uncertainty in Conservation and Sustainable Use. London: Earthscan, 2005. Didelon, Vale. Light of Tomorrow: International Velux Award 2004 for Students of Architecture. Paris: D'A, 2005. Hale, Jonathan A. “Signs of Resistance: Re-membering Technology.” Journal of Architecture5, no. 1 (Spring 2000): 91-97. Leatherbarrow, David. The Poetics of Construction in Nineteenth and Twentieth Century Architectureby Kenneth Frampton; John Cava 56, no. 1 (1997): 98-100. Accessed November 2, 2014. http://www.jstor.org/stable/991220. Martins Barata, Paulo. “Kenneth Frampton apropos tectonic: on the high-wire of a definition.” ARQ: Architectural Research Quarterly3, no. 2 (1999): 141-146. McCartney, Karen. 70/80/90 Iconic Australian Houses: Three Decades of Domestic Architecture. Sydney, N.S.W.: Murdoch Books, 2011. Philip Goad and Patrick Bingham-Hall, New Directions in Australian Architecture(Balmain: Pesaro Publishing, 2001), 45. Philip Drew, Leaves of Iron: Glenn Murcutt, Pioneer of an Australian Architectural Form(Sydney: Law Book Company, 1985), 45. Pallasmaa, Juhani. "Studies in Tectonic Culture: The Poetics of Construction in Nineteenth and Twentieth Century Architecture by Kenneth Frampton, Edited by John Cava, The MIT Press, 1995, 430 Pp, 485 (HB Ridgway, Sam. “The Representation of Construction.” Architectural Theory Review 14, no. 3 Vaughan, Josephine, and Michael J. Ostwald. "Measuring the Significance of Façade Transparency in Australian Regionalist Architecture: A Computational Analysis of 10 Designs by Glenn Murcutt." Architectural Science Review, 2014, 1-11. Vallhonrat, Carles. “Tectonics Considered: Between the Presence and the Absence of Artifice.” Perspecta24 (1988): 122-135. Read More