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DETAIL in architecture

"I don't believe architecture has to speak too much. It should remain silent and let nature in the guise of sunlight and wind." TADAO ANDO

created by Michaela Dominรกkovรก

LIGHT "Drawing architecture is a "schizoid" act: it involves reducing the world to a piece of paper." EDUARDO SOUTO DE MOURA


“In order to design buildings with a sensuous connection to life, one must think in a way that goes far beyond form and construction.” PETER ZUMTHOR



TEXTURE Texture plays a dual role in architecture: it expresses something of the quality of materials, and it gives a particular quality to light. Although one absorbs both qualities simultaneously by eye, the first has tactile, the second visual associations. Specific tactile textures are peculiar to every material by virtue of its manufacture or natural composition, but they may be altered to produce a variety of expressive qualities. Any stone may be used in its natural, irregular state, or it may be chiselled in a rough or smooth texture or highly polished to convey a range of meanings from vigour to refinement.

Visual textures are produced by the patterns given to the lighting of the surface both through the way the materials are worked and through the way they are employed in building. Like all patterns, visual textures create associations of movement, giving rhythm to the surface. A single texture is rarely employed in building. The variety of materials and treatments typically produces a complex of textures that must be composed and harmonized like the forms and spaces of architecture into a consistent expressive whole.


"No design is possible until the materials with which you design are completely understood." LUDWIG MIES VAN DER ROHE




GEOMETRY The relationship between geometry and architectural design are described and discussed along some examples. Geometry is the fundamental science of forms and their order. Geometric figures, forms and transformations build the material of architectural design. In the history of architecture geometric rules based on the ideas of proportions and symmetries formed fixed tools for architectural design. Proportions were analyzed in nature and found as general aesthetic categories across nature and art. Therefore proportions such as the golden section were seen as the power to create harmony in architecture as well as in art and music. According Pythagoras there were general principles for harmony. They were also applied in architecture and they found a further development especially in the renaissance. Leon Battista Alberti integrated such general harmonic proportion rules in his theory of architecture and realized them in his buildings. To find general principles of harmony in the world were the main research aims of Johannes Kepler in his "Harmonice mundi". These principles of harmony were based on geometry. Another important branch in the history of architectural design principles was the "golden section" or "divina proportione". "Modulor" of Le Corbusier is an example of an architectural design based on the golden section.




G O D is

in the D E T A I L S Where can we find greater structural clarity than in the wooden buildings of the old. Where else can we find such unity of material, construction and form? Here the wisdom of whole generations is stored. What feelings for material and what power of expression there is in these buildings! What warmth and beauty they have! They seem to be echoes of old songs. LUDWIG MIES VAN DER ROHE



PRECISION "Building art is a synthesis of life in materialised form. We should try to bring in under the same hat not a splintered way of thinking, but all in harmony together." ALVAR AALTO


Thank you "The D E T A I L S are not the details. They M A K E design." CHARLES EAMES

FA VUT BRNO VT5 2016/2017