Tectonics in Architecture |HSLU Switzerland| Gagan Bharti

thinking tectonics

Image showing the f lexibility of bamboo construction, weaving pattern and traditional Japanese weaving art.

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THINKING TECTONICS

Architecture is understood as being the responsive result to the requirements of its surroundings: the environment and the specific social conditions shape architecture in a particular manner.

The knowledge gained in this exploration helps to develop a tectonic way of thinking as an awareness to take the appropriate construction decisions as an answer to specific requirements, with the ultimate objective of achieving an architecture which is an alliance between design and construction.

Gagan Bharti

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Hochschule Luzern Lucerne University of Applied Science and Arts Engineering and Architecture BA Architecture - Theory Module HS19 Core Module Tectonics Author: Gagan Bharti Lecturer: Natalie Plagaro Cowee, dipl. Architect ETSAM, SIA, Herrliberg ZH, Switzerland Assistant: Besa Zajmi MSc. Arch ETH, ZĂźrich, Switzerland 4

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I.

About Tectonics

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II.

Vernacular Tectonic Mechanisms

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II.1 Tectonics of Adjoining

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II.2 Tectonics of connection

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II.3 Tectonics of Guidance

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II.4 Tectonics of Movement

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II.5 Tectonics of Protection

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II.6 Tectonics of Protection

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II.7 Tectonics of Support

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II.8 Tectonics of Support

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II.9 Tectonics of Ventilation

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II.10 Tectonics of Ventilation

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III.

Tectonic Mechanisms of the 20th century

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IV.

The Tectonic Detail

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List of figures

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Bibliography

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I. About Tectonics

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I. About Tectonics Greek in origin, the term tectonic derives from the word tekton,signifying carpenter or builder.

The corresponding verb is tektainomai.This, in turn, is related to the Sanskrit taksan, referring to the craft of carpentry and to the use of the axe. Remnants of asimilar term can be found in Vedic poetry, where it again refers tocarpentry..

(Frampton, 2001,p.2).

Botticher(1840) cited in tectonic culture(Frampton, 2001,p.82)that the core form of each part is mechanically necessary andstatically functional structure, the art form on the other hand is only the characterization by which the mechanical-staticalfunction is made. Karl Otfried Muller (Frampton, 2001,p.4) tectonic is a concern with art also and any other object that has been made by a certain process like utensils, vases, dwellings and meeting places. “I take certain amount of oak and dierent amount of tufa and then add something else , three gram of silver, a key- anything else you‘d like“( Zumthor, 2006, p.22) Sometime creating dierent pattern or shape using a single material with dierent weaving technic and interlocking of pieces can also be the expression of tectonic, referring to g.1, a typical Japanese basket made up of bamboo strips just by using the traditional style of weaving in japan in which horizontal strips creates the shape of the basket by having the dierent radius of circle and vertical strips giving the support against gravity.

Figure 02 A japanese basket made up of bamboo strips by interlocking joinery method no other addition material used for joint.

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I. About Tectonics

All joints in basket are exposed that represent the honesty of material and structure too. Richness of material comes through the exposer of material to the environment and celebration of joint comes through the exposer of the joint in the structure.

So, basically, if we understand the meaning of tectonics in architecture then it is more concerned with construction with the presence of the right material at the right place with the appropriate method of joinery. The honesty of the material and structure of a building also plays an important role in creating a relevant atmosphere for space, shape or facade for building or elegance to a piece of art. Peter Zumthor says in his book (Atmosphere) to achieve a great piece of architecture, one should really focus on the atmosphere, the body of architecture, material compatibility, sound, temperature, and tension between interior and exterior.

So, referring to g. 2, the crown is made up of only two materials that are wood and steel wire.

The joints are done just by twisting two-wire and a wooden stick between them which are intentionally pointed on the upper side to dierentiate with base.Apart from this, three sticks are higher than others to highlight the front side of the crown.

So, tectonics is constructing, shaping, reforming or making of a building, athe vessel, a sculpture, a landscape or space by using appropriate material which is suitable for that particular site (area or object) with them using the knowledge of technology and art in taking care of the atmosphere of that place. Combing two or more material intentionally to achieve something in any construction process is also a tectonic expression. It may also be also related to joining two materials, how two or more materials react when they come together and also blending of material with each other or nature can be tectonic.

Figure 03 A crown, made up of cylinderical wooden sticks and a thin foldable metal wire.Both material joined by weaving method of 11

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II. Vernacular Tectonic Mechanisms

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ONE relevant drawing or image of an vernacular tectonic mechanism In case of drawing: Black background with strong white lines.

Sketches or cad.

Black and white, high-quality image.

THEN DELETE THIS TEXT. (The caption of the image is at the bottom of the following page.)

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II. Vernacular Tectonic Mechanisms

Tectonics of Adjoining Clamping

The junction of the two exterior walls. This architectural detail belongs to the Barn of Kiesen.

This building is designed to store grain, the tightness of joints is important. All elements are fitted very tightly to each other. In this way, the joints must be installed in these walls. It is very simple and reliable, well-made, has a tightness and rigidity. The detail applies at the same time a functional and decorative element of architectural expressiveness. The addition of decorative carvings at the ends is justified, since the corner of the building is always one of the most visible and significant elements, which means that the use of a smaller scale is reasonable. The connection method involves the removal of the ends of the elements, which forms a shadow band and further emphasizes this part of the building.

Thus, this element is a complete example of the application of a tectonic logic.

Figure -04 Junction of the two exterior walls, corner.

Type of the building — grain storage.

Location — Barn of Kiesen, Switzerland.

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II. Vernacular Tectonic Mecha-

Tectonics of compression Clamping

Connection between interior ad exterior.

Window hole. It is located in the outer wall of the non-residential premises of the Buochs apartment building. The window is very small.

This is justified, since the room is non-residential, and the function of this window is a light portal and ventilation. The window jambs are compressed between the lintel and the sill trimmer, probably assembled together in order to avoid displacement. Given the contrast of the materials used in color and texture (white plaster and wood darkened over time), this window naturally becomes a decorative accent on the wall plane.

Figure 5 Window.

Type of the building — residential building.

Location — Buochs, Switzerland.

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II. Vernacular Tectonic Mechanisms

Tectonics of Guidance Compression

The keystone above the main doorway of a residential building from the city of La Chauxde-Fonds. The stone completes the arch vault, provides rigidity. The function of the keystone does not need an additional description, but its decorative design in this case is very interesting. The decoration of the castle stone is not uncommon. As a rule, this is a demonstration of its structural significance, its isolation from a number of other elements of the arched vault.

Here, the capstone clearly indicates the direction of the entrance, clearly demonstrating that it is the main among others (in the plane of the wall this is not the only opening). Such a strong connection of expressiveness and function is a clear example of the link between interior and construction solurion.

Figure 6 The keystone with ornament.

Type of the building — residential building.

Location — La Chaux-de-Fonds, Switzerland.

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II. Vernacular Tectonic Mechanisms

Tectonics of Movement Clamping

Axalp hay canopy opening mechanism. The function of the building does not require serious thermal insulation, special reliability and protection of privacy from an uninvited guest person from the doorway. All that is needed is to prevent the animals from entering. This allows to apply a simple and primitive technology: a loose clamp on the door axis in a round hole, which leaves enough freedom for rotation. There is nothing decorative here, since the building itself is technical, and not public, but the fact of using parts that are large-scale to other architectural elements of the building in the door mechanism allows this part to be included in the general tectonics of this building.

Figure 7 The dore opning mechanism.

Type of the building — hay storage.

Location — Axalp, Switzerland.

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II. Vernacular Tectonic Mecha-

Tectonics of Protection Overlapping

The wooden facade of the guest house in Hunenberg, Zug. This type of wood cladding is quite typical for rich residential buildings. This is evidenced by the form of the elements, and their scale. The timber shingles perform their direct function, that is, prevents moisture from entering the wall. The small scale of the coating segments allows you to use it to protect both large architectural elements and small ones, and also provides a field for experiments with plastic surfaces. The function and structure of the coating is very obvious, it does not claim a different role in the architectural whole, becoming a full-f ledged and successful unit of the tectonics of the structure.

Figure 8 Traditional wooden covering.

Type of the building — guest house.

Location — Hunenberg, Zug, Switzerland.

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ONE relevant drawing or image of an vernacular tectonic mechanism In case of drawing: Black background with strong white lines.

Sketches or cad.

Black and white, high-quality image.

THEN DELETE THIS TEXT. (The caption of the image is at the bottom of the following page.)

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II. Vernacular Tectonic Mechanisms

Tectonics of protection Layering

A hipped roof to provide protection from rain, sun, and snow. The building is using as the residence and storage as well. The material used in the construction of the roof is a raw husk. It is constructed in layers of husk the thickness of the roof is about 60 cm which prevents rain not to come inside and also works as an insulator.

Construction is done by putting one layer on another layer then these layers are supported by vertical wooden rafter and horizontal wooden purlins. All the materials used in construction are exposed directly to the environment and showing their natural color and texture which also represents the honesty of material in construction.

Figure 9 Roof Type of house-Bauernhaus, Oberentfelden AG, 1609 Location-Zentrales Mittelland,Switzerland.

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II. Vernacular Tectonic Mecha-

Tectonics of Support Plugging

A tilted wooden log supporting a wooden column at the joining of the column and beam.

The building is as a shelter for goats and lame.

The support is given in the front column as reinforcement. The lower end of the column is embedded in the earth and the upper end is supporting column and beam both. The joinery is done by cutting the upper part of the tilted column horizontally and vertically which helps in transfer the load from the horizontal beam and vertical column and the angle of the tilted column is about 45 degrees from the earth which helps in even distribution of load.

As the tilted wooden column is exposed to the environment, the aging effect on wood can be clearly visible. The richness of material and technic of joinery allows us to talk about the tectonic approach of construction.

Figure 10 Tilted wooden column.

Type of building- Shelter for goats and lame(Alpstall) Location-Alpwirtschaft, Switzerland.

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ONE relevant drawing or image of an vernacular tectonic mechanism In case of drawing: Black background with strong white lines.

Sketches or cad.

Black and white, high-quality image.

THEN DELETE THIS TEXT. (The caption of the image is at the bottom of the following page.)

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II. Vernacular Tectonic Mechanisms

Tectonics of Support Clamping

An uplifted foundation from ground. The building is used as a storage for cheese. A pillar of a foundation constructed by using stone and wood. A stone is positioned at the very bottom of the pillar to avoid moisture in wood and also to provide stable support on the ground, there are two horizontal beam meetings at the right angle on the f lat upper surface of the stone and above it, a vertical piece of wood supporting another horizontal beam. All the wood to the wood joint is done by mortise and tenon joinery. The richness of joinery detail in the building and use two materials in the foundation makes it the very tectonic approach of construction.

Figure 11 Foundation of a storage building Type of the building- Käsespeicher, Leissigen BE, 1780 Location- Alpwirtschaft, Switzerland 29

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II. Vernacular Tectonic Mechanisms

Tectonics of ventilation plugging

A wooden grid to provided in the wall of the building. The building is using as a small farm with pottery. The wall is comprising of a vertical cuboidal wooden bar fitted in the frame at an angle of 45 degrees to avoid direct visual contact into the building, the wooden frame is embedded in the stone wall. It allows ventilation also used in a barn where hay is dried.

Due to reduced contact with moisture (the only pointed area is in direct contact with hay), the whole wood does not get rotten by the humidity of the hay. The way of construction is very thoughtful as just changing the orientation of material defines another function for the element.

Figure 12 A window Type of the building -Kleinbauernhaus mit Tรถpferei Location -Berner Oberland, Switzerland 31

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II. Vernacular Tectonic Mecha-

Tectonics of ventilation Overlapping

A small slit window present in the wall to provide the ventilation. The building is using as the alpine cheese dairy. This small opening present on the upper part of the basement wall which is made up of stone. The opening is done by using a frame of stone then a small wooden panel to the opening if it is not needed at any point in time. The stone frame is done by using a larger stone placed horizontally on two stones as a lintel. All the material is exposed and showing their natural colour.

Figure 13 A small slit window.

Type of the building - Alpine cheese dairy(Alpkäserei) Location- Alpwirtschaft, Switzerland 33

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III. Tectonic Mechanisms of the 19th and 20th century

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III. Tectonics and Structure

Louis Isadore Kahn ,(born Itze-Leib Schmuilowsky , the February 20 , 1901 in Kuressaare - died on March 17 , 1974 in New York ), is an American architect , of Estonian origin . He is now considered one of the greatest architects of the 20th century . His main works are in the United States , India and Bangladesh . Often monumental, they mark particular attention to community life. (Louis Isadore Kahn, n.d) Referring to fig13, an iconic facade detail from Salk Institute, California designed by Louis I. Kahn in 1965. “When my friend Jonas Salk came to my office and asked me to build a laboratory with 10,000 feet of workspace for each of 10 scientists, his program was simple. He said, ‘There is one other thing which I would like to accomplish.” Kahn stops and beams, his lips pursed in an impish smile. “His only other stipulation was, ‘I would like to invite Picasso to the laboratory.” (November 15, 1970), The New York Times, p.36 So, architectural detail in this project is simple and elegant mainly with the use of three materials that is raw concrete, untreated wood, and stone on the f loor. The vertical side of the wooden panel is not touching the concrete which creates a small elongated vertical slot.

The vertical slot helps in the ventilation and prevents the moisture at that side of the wooden plank and it also leads to the vertical profile for sunlight to enter into the building dramatically..

Figure 14 Facade of salk institute,california, use of simple material and geometrical form 37

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III: Tectonics and Structure

Refer to fig14, An iconic bay window detail in Fisher House, Pennsylvania designed by Louis I. Kahn in 1967. As the image is self-explanatory in terms of the liveness space, light and identity of structure. This window present in the living area of the house and constructed by the wooden frames which are arranged in an abstract way but simple geometry having a clear glass between them. The clear class brings a connection to Inside-out and natural in the living area. At the lower part of the wall sitting furniture, which appears as coming out of the wall which also explains the tectonic of a structure as the structure itself providing spaces.

As Kahn said “I always start with a square, “we can see the truthness of this statement in his buildings, the bathrooms of the Jewish Community Center, Trenton; and The National Assembly, Bangladesh. Sometimes the whole building is square e.g. The Library of the Phillips Exeter Academy, New Hampshire; but most often the project is configured as a set of squares or The towers of the Richards Medical Research Building, Philadelphia. Fisher House is also a composition of simple cubes in which the plinth the building is made up of natural stone to adapt the slope of the site and also generates the space for overlooking the garden.

Figure 15 Bay window detail of Fisher house,creating a livable spaces in facade and an inside-out relation 39

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III: Tectonics and Structure

As Louis Kahn said “The museum has as many moods as there are moments in time, and never… will there be a single day like the other.” This statement comes true when see the lighting situation of Kimbell art meusum. whole building is compose of elongated cycloid barrel vaults and punctuated by three courtyards, allowing for more light, airf low, and relationships between interior and exterior spaces.

Refer to fig15, Kimbell Art Museum, Fort Worth, Louis I. Kahn, 1972; A magnificent iconic detail of the vault. The vault reaches the pillar but the infill and cladding leaves a gap, not reaching the vault.That detail allows light to come inside and on the surface of travertine wall and also it helps to shorten the length of the vault psychologically means avoid the feeling of walking towards a dead end.

Figure 16 Vault detail of kimbell art meusum, bringing light by incompleting geometries.

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III: Tectonics and Structure

While Louis Kahn was designing the National Assembly Building in Bangladesh in 1962, he was approached by an admiring Indian architect, Balkrishna Doshi, to design the 60-acre campus for the Indian Institute of Management in Ahmedabad, India.

Refer to fig16, Indian Institute of Management, India; the basic concept of the building was not only classrooms but other places also like hallways and plazas can be interaction spaces among the students and professors.

Kahn incorporated local materials (brick and concrete) and large geometrical porus façade extractions as an homage to Indian vernacular architecture. It was Kahn’s method of blending modern architecture and Indian tradition into an architecture that is suitable for an educational institute building. In figure also it is noticeable he used a brick jack arc in the form a lintel to make opening possible in the façade he also designed water gutters for rainwater runoff.

Figure 17 Facade detail of IIM Ahemdabad, India; orus facade with use of vernacualar material.

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III: Tectonics and Material

III. Tectonics and Material

In my definition of tectonics, I considered architecture as a thesis, a certain utterance, and tectonics as the art of this utterance. Among the elements of this statement, such as composition and proportions, the material is of paramount importance. The material, as the outer shell, is given the honor of the first impression, and if it does not dictate it, it directly participates in it.

The material binds together all the elements of the utterance, whether it be constructive conjugations, volumes or spaces. The first and last word is always behind the material.

I will reveal the special affinity of material and tectonics on the example of the projects of Sigurd Lewerentz - St Mark’s church, Bjorkhagen and St Peter’s church in Klippan. These two architectural compositions contained a huge number of beautiful architectural solutions and can rightfully be considered one of the best works of the Swedish architect.

The first and main thing that unites the two churches is that they are both very “material”.

Indeed, brick plays a key role in shaping, creating the atmosphere and image of the building.

The architect fully reveals the potential of this simple unit, respectfully preserving its shape and dimensions. Brick is what the viewer sees when approaching the building for the first time, the brick accompanies the visitor during all his movements inside the building, the brick says goodbye to the guest at the end of his journey.

Figure 18 Sigurd Lewerentz, st Peter’s church, Klippan, an original detail of a brick facade. To create an inclined shape, Lewerentz changes the inclination of the brick and the amount of mortar, but does not cut the brick.

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III: Tectonics and Material

Like any other material, brick has characteristic properties, such as texture and color, which the architect does not intend to hide. The advantages are obvious - the play of light on the relief surface of the wall helps to emphasize the window openings, as well as creates a more diffuse penetration of light into the room.

But there is a deeper background to this approach to the use of bricks. Each block carries information about the person who secured it in its place. This uniqueness of each unit, combined with the unusual design solutions, brings a beautiful idea about the great symbiosis of design and construction as closely intertwined processes.

Unique design solutions that required the regular presence of the architect at the construction site and his close interaction with the builders were a consequence of the fact that the brick, due to its properties, imposes a certain framework, which cannot be ignored. At this moment, the use of this particular material becomes a certain challenge that Lewerentz accepts, so today we can marvel at his ingenuity. Thus, in part, this turns the material from the tool into the goal, which emphasizes its key role in these two projects.

Figure 19 St. Mark’s Church in Bjorkhagen, light accent in the main ceremonial hall. Light is scattered over the relief surface of the brick wall and the articulations of the vaulted ceiling.

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III: Tectonics and Material

An interesting fact is that it is in the material that the main similarity of the two projects lies, as well as their key difference. The Church of St. Mark becomes a kind of ode to brick as a material, which is confirmed by some details, while in the ensemble of the Church of St. Peter the brick is an assistant and a very expensive tool.

The Church of St. Mark became one of the first experiments of Lewerentz with brick, it clearly demonstrates his enthusiasm for this material.

Light accents emphasize details that seem impossible, and the gap between the wooden entrance portico and the main brick of the building shouts about the uniqueness of the material and its physical properties. The presence of non-functional elements demonstrating the possibility of shaping only confirms the special role of the material in this project. All this makes the building an elegant reminder of the great potential of the brick, so undeservedly deprived of attention by contemporaries of the architect.

Figure 20 St. Mark’s Church, entrance portico. Made of wood and unintentionally separated from the brick facade, emphasizing the difference between materials.

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III: Tectonics and Material

Deep religious parallels are laid in the composition of the church of St. Peter. The architect associates the path of man in it with the road to God. Therefore, he deliberately makes it co fusing, and the entrance to the central hall is inconspicuous. It is also interesting how Leve entz leads the viewer to the altar - the f loor has a slight slope, conducive to this movement. The path of man in this world is thorny, but leads to enlightenment - such an motive is laid by the architect in the composition of the building, which inevitably leads to a variety of volumes and functions. And then the brick comes to the rescue as a connecting link, as a characteristic mark of each of the accents placed by the author.

One way or another, the thoughts that Lewerentz brings to the viewer are either aimed at revealing the material, or are essentially supported by him, and it is thanks to him that they become available. Sigurd Lewerentz’s projects reveal many facets of the relationship between the material and the architectural whole, becoming an illustration of the continuity of the material and tectonics.

Figure 21 St. Peter’s church, courtyard-street. Different types of masonry mark the different functions of buildings. The resemblance to themotley village street is intentional.

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IV. The Tectonic Detail

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IV: The Tectonic Detail

IV. The Tectonic Detail Extension Nordheim Crematorium Studio: Natalie Plagaro Cowee The project is dealing with the extension building for Nordheim Crematorium Zurich.

The building should contain all the spaces which are used during the process of cremation.

The concept of the project is path and stations.

All the spaces arranged alternatively both side of a path which is gradually rising with natural slope and having a parallel axis to the existing building.

The intention of the project is to create a space which has the richness of structure and structure itself providing spaces for a different purpose. The Structure is creating an atmosphere which is supporting the emotions of people those are present there. As crematorium is not a conventional building so lighting is done by using skylights in roof, the whole structure is consist of two layers in which inner layer is structure and outer layer is used as the skin, this combination gives a feeling of monumentality of the structure which establishes a relation of TECTONIC OF STRUCTURE in the project.

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IV: The Tectonic Detail

Interior Perspective of your design project (Can be in colour.)

THEN DELETE THIS TEXT. (The caption of the image is at the bottom of the following page.)

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LIST OF FIGURES Figure 01 Earle, J.,Basket: Masterpieces of Japanese Bamboo Art 1850-2015, Stark Studios Limited, Hongkong, june 2018, p.10 Figure 02 Earle, J.,Basket: Masterpieces of Japanese Bamboo Art 1850-2015, Stark Studios Limited, Hongkong, june 2018, Cover page Figure 03 Bhart, G.:(25/10/2019), A crown.

Figure 04 Chudaev, D.:(19/10/2019), A junction of two wall.

Figure 05 Chudaev, D.:(19/10/2019), A window.

Figure 06 Chudaev, D.:(19/10/2019), The key stone with ornament Figure 07 Chudaev, D.:(19/10/2019), The door openoing machanism Figure 08 Chudaev, D.:(19/10/2019), Traditional wooden shingle Figure 09 Chudaev, D.:(19/10/2019), The roof Figure 10 Bhart, G.:(25/10/2019), Tilted wooden column.

Figure 11 Chudaev, D.:(19/10/2019), Foundation of a storage building.

Figure 12 Chudaev, D.:(19/10/2019), A window Figure 13 Bhart, G.:(25/10/2019), A small slit window.

Figure 14 Archiobjects. (n.D.). Louis Kahn Salk Institute | 1959-1965. Retrieved from archiobjects.org/ louis-kahn-salk-institute/ (29.12.2019) Figure 15 CajondeArquitecto. (27.02.2013). detalle (ventana). Retrieved from cajondearquitecto. com/2013/02/27/hueco-casa-fisher (29.12.2019) Figure 16 Brown, T.(n.D.). Kimbell Art Museum. Retrieved from louiskahn.es/Kimbell_Art (29.12.2019) Figure 17 Burte, H. (n.D.). Belief and Building. Retrieved from architecturelive.in/belief-and-building/ (29.12.2019) Figure 18 Wall, B.: Church of St. Peter, Retrived from https://arcspace.com/features/church-of-st-peter/.

Figure 19 Josep, M.T.:2009, Retrived from https://www.flickr.com/photos/jmtp/3853984446.

Figure 20 Josep, M.T.:2009, Retrived from https://www.flickr.com/photos/jmtp/3855801722/in/ photostrem/.

Figure 21 Wells, B.:2017,Church of St. Peter, Retrived from https://arcspace.com/features/church-of-stpeter/ Figure 22.

Bhart, G.:(25/10/2019).The cross-sectional detail of project.

Figure 23.

Bhart, G.:(25/10/2019).The outer perspective of funeral hall.

Figure 24.

Bhart, G.:(25/10/2019).The inner perspective and atmosphere of funerall hall

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BIBLIOGRAPHY 1.Earle, J. (2018,June).Basket: Masterpieces of Japanese Bamboo Art 1850-2015. Hongkong. Stark Studios Limited.

2.Frampton,K. (2001). Studies in tectonic culture. Cambridge Mass United States. MIT Press Ltd. 3.Zumthor, P. (2006). Atmosphere. Basel, Switzerland. Birkhauser.

4.Braudy, S. (1970, November 15).The Architectural Metaphysic of Louis Kahn. The New York Times. New york, USA.

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