Architecture Undergraduate Thematic Portfolio: Architectural Theories and Design Methodologies

ARCHITECTURAL THEORIES AND DESIGN METHODOLOGIES THREE SCALES, THREE RELATIONSHIPS

Politecnico di Milano School of Architecture Urban Planning Construction Engineering Architectural Design A.Y. 2019/2020 | September Graduation Session

THEMATIC PORTFOLIO VILELMINI MARIA KESTSOGLOU | 900596

ABSTRACT

CONTENT

Architectural theory has formed the basis of architecture since antiquity

EVOKING ISTANBUL

and with the growth of publications, it has been significantly influential to the

HISTORY AND COLLECTIVE MEMORY

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constant formation of new styles and movements. However, thinking and design methodology is the core part of any design process, determining to a large degree the end result. Depending on the type of project as well as

ROM|BREAK

the people working on it, different design processes emerge, each following

CRITICAL REGIONALISM

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a distinct methodology which may or may not depend on one or more architectural theories. In some cases the conceptual phase and aspects intertwine fully with the design methodology and in others theory influences

THE ARTIST’S STAGE

indirectly the design methodology followed.

FORM FOLLOWS FUNCTION

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This study deals with the relationship between architectural theory and design methodology as well as the level and form of influence of the former on the latter. To do so, three projects of different scales and characteristics

CONCLUSION

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BIBLIOGRAPHY

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were chosen, each relative to an established architectural theory, investigating in this way the role that these architectural theories played in the design process of each project, as well as the degree to which they determined the methodology used and ultimately the obtained results.

EVOKING ISTANBUL

REFLECTIONS OF THE CITY

Golden Horn waterfront | Istanbul

Final Design Studio Professors | Antonella Contin, Ed Wall, Gaia Caramellino Collaborators | Clara Donati, Valentina Galiulo, Federico Mistò, Stefano Sanna

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Theory | History and Collective Memory A

prevailing

Architectural theory related to Urban and Architectural

intervention is that presented in the writings of Aldo Rossi. Identifying the Urban form as the artifact that structures the city and rejecting any interpretation of these artifacts in terms of function, Rossi stresses the importance of the study of history for the understanding of urban phenomena, seeing ‘the city as History’1. In that scope he introduces another important concept, emerging from the city’s history and distinctive character, that of the ‘Collective Memory’2. According to him the collective memory takes part in the transformation of the space, linking the architectural interventions directly to the city. As a result the importance of the urban structure, its individuality and its architecture is understood through history perceived as collective memory, ‘the relationship of the collective to its place’3. These concepts which express a certain sensitivity towards cultural and urban context, together with the understanding of typology as something to be studied closely with history and not to be directly imitated, make up the main aspects of Aldo Rossi’s theories and formed the basis for the definition of a design methodology used in the project for the redevelopment of Istanbul’s Halic waterfront.

ISTANBUL - Crossroad Between East and West

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1-3. (Rossi, 2007)

STUDY OF CONTEXT AND STRATEGY

METHOD

Waterfront Transformation

Intervention

Methodology | Cultural and Urban Sensitivity: The project’s starting point emerged from the determination of a current issue in the Urban reality of Istanbul, which was identified as the social capsulation and rejection of various community groups, mostly immigrants, from the collective urban life. Therefore the project’s main goal was to tackle this issue with the proposal for the regeneration of the underused waterfront of the Golden Horn. The design methodology used follows the main principles of the theory mentioned above, starting from an in depth study of the history of Istanbul and its relationship to the urban metabolism of the city. As a result of this study it was deemed necessary to follow an approach conscious with regards to the cultural and urban context of the site, as well as to utilize the collective Memory of the city and its people to provoke a sense of belonging through the project to the capsulated communities of Istanbul. Finally, it became evident that a way to achieve this sense of belonging through the use of memory was by researching and integrating traditional historical typologies found in the city fabric to the project, as well as investigating the relationship of the city and its people to the water.

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MASTERPLAN

Urban sensitivity

Connecting city-water

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Relationship with the water

Connections with the city

HAN - Commercial Typology

OTTOMAN HOUSE - Kisk/Cumba

Openings in the Ottoman House

During the study of the history of Istanbul, some of its aspects that stood out were the international character it has held for many centuries, partially

The ‘Sofa’ in the Ottoman House

because of its geographical location as a crossroad between East and West, but also due to its status as the imperial capital and commercial and cultural center of the Roman/Byzantine Empire. As a result Istanbul became the place of residence for many different populations, a place of constant cultural exchange and movement, factors that contributed to its urban development over the years. It was this unique identity of the city that the project aimed to resurface, which was achieved through the stimulation of

Internal Space Organization - cells, sofa, openings

the collective memory imprinted on some traditional architectural types.

Such types were the Han, a commercial building, the Ottoman house with its central room the ‘Sofa’, as well as the typologies which existed in the waterfront area in the past and their direct relationship with the water.

With the aid of this in depth study of traditional typologies and their implementation to the proposal, the design method followed concluded to a project working closely with its context, the urban fabric of Istanbul and the cultural aspects accompanying it, not an isolated urban artifact.

Furthermore, this approach led to the definition of forms and structures more relative to their urban context than a specific set of functions.

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Built forms - relationship with infrastructure and water

Direct contact of interior and city fabric

Interpretation of traditional typologies Building cluster - intimacy, belonging Double height ‘urban living room’ - ‘Sofa’

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Unification of cluster through a series of principles derived from the urban and cultural context: forms, meterials, arrangements

Built forms, external enclosed, semi-enclosed and open spaces

Enclosed cluster working with the surrounding Intimacy and variety of spaces

Openings in the built form Narrow visual connections with context

Giving the waterfront back to the city

Contemporary ‘Sofa’ interior

Interpretation of Han typology - cell configuration

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NEW FORMS OF LIVING Rombon area | Milan

Architectural Design Studio 2 Professors | Giulia Setti, Giovanni Bassi, Ana Veljkovic Collaborators | Federica Basile, Sliman Darawshi, Giuseppe Pastonesi, Giovanni Gualdrini, Marta Zanardi

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Theory | Critical Regionalism:

Critical Analysis

A theory which has remained relevant until today and has been followed by various architects amongst which Alvar Aalto, Carlo Scarpa and Alvaro Siza is that of ‘Critical Regionalism’4 as presented by architect and historian Kenneth Frampton. In his writings, the urge of modern Architecture to optimize technological elements as well as the sentimental approach of reviving the architectonical forms of the pre-industrial era, are the main factors that prevent significant urban forms from being created. As an alternative approach to modern Architectural practice he suggests that it should be perceived as a critical practice, distanced from such conservative ideologies so it can cultivate urban forms of independent identity. One of the fundamental aspects of Critical Regionalism is that it provides a middle ground between ‘universal civilization’5 and the particular elements of a specific location. Its aim as a theory is to use indirectly such elements without reviving forms of the past, providing in this way an alternate understanding of the concept of ‘context’. The reinterpretation of context not in its rationalized way which is sight, but through a more direct experience of the environment using other senses such as smell, hearing and taste is used to inscribe the specific culture and environment of an area to the Architectural form. In the regeneration project done for a site on the outskirts of Milan, some of the main concepts of this theory were utilized in defining a methodology to be followed for the design process.

Metropolitan Context

4-5. (Frampton, 1983)

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Methodology | Former Context and New Identity The site chosen for the project in the outskirts of Milan, in proximity to via Rombon, which is one of the main entrances and exits from the city, is considered an ex industrial area and has been identified as suitable for redevelopment by the municipality. New developments have emerged in the surrounding area of the site in the last years such as university dormitories, residential buildings as well as spaces used for entertainment, coexisting with the old industrial built forms which have either been repurposed or abandoned. As part of this regeneration process of the area and the repurposing of old warehouses, the area is now part of the Milano design week with numerous exhibitions and events being held there. These aspects made it evident that it is an area with a strong past identity seeking for a new one and thus some concepts of Critical Regionalism could be used in the definition of a methodology for its regeneration.

Typological Analysis used in a critical way

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Context Elevations, Perception of the Environment

Starting from an analysis of the site in the metropolitan scale and then

MASTERPLAN AND STRATEGY

moving closer to it’s surrounding context, identifying the main uses of non-residential buildings and their typological aspects, as well as the most common residential typologies of the area it was possible to have a critical understanding of the needs and potential direction of the redevelopment of the area. This critical approach of the use of the context can be identified in aspects of the project such as the decision to not follow the courtyardstyle typology which is common in Milan and is found in the surroundings of the site. Instead it was decided to partially enclose the site leaving parts of it completely permeable and others semi-permeable through open ground floors of the market and residential complex. This design decision occurred because of the aspiration to provoke a feeling of openness and inclusivity to users which was a common aspect of the surrounding areas, green spaces and spaces used during design week. Utilizing the study of context in a less pragmatic way, more focused on the experience of the environment also enabled a design using light and the multiple different exposures of the project. One of the principles identified in the elevations of the surrounding built form was the different levels of exposure of the buildings based on their purpose and function, less for completely private use and more for buildings intended for the public. Thus, the projects elevations were designed accordingly, thinking about the different experience these perceptions of light provoke, with a public market completely glazed and a residential complex with wooden panels creating a non-constant effect of light and shade.

Partially enclosed site

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Open ground floors and first floor entrance corridor looking to the street

Feeling of openness in the partially enclosed part of the site

Section-Elevation shows the approach followed for the internal facade

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Exploded axonometries showing the openings, exposures to light and internal distribution of the buildings

Detail Section-Elevation showing the effect of light and shade created by the panels, light exposure of the residential building

Elevations of Row Houses, similar approach and materials as for the residential complex

Contrast of elevations and exposure to light between the public and private buildings

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THE ARTIST’S STAGE FORM AND FUNCTION Villa Panza | Varese

THE ARTIST’S STAGE

Interior Design Studio Professors | Antonella Yuri Mastromattei, Christina Colombo Collaborators | Francesco D’Aloisio, Valentina Voltolin

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Theory | Form Follows Function

Public space

The stage

The artist’s presence

The artist’s path

Wrapping shell

Inserted volumes

In this last part of the work a theory which does not deal with the context of a project is presented. As introduced by Louis Sullivan in the 19th century, in his effort to determine the form of the high rise skyscraper, the concept that ‘form ever follows function’6 suggests that the shape of a building should be attributed to its purpose and function. He based the core of his theory on the writings of Roman architect, engineer and author Vitruvius, who states in De Architectura that ‘a structure must exhibit three qualities, firmitas, utilitas, venustas’ so solidity, usefulness and beauty. Sullivan considered his theory a rule which stems from nature, as all things that exist in it have a form that distinguishes it from one another, making it a rule that does not have any exceptions. This theory is opposed to other common approaches that suggest a direct connection of form with its precedent and has been interpreted in various ways throughout the years.

Concept - Common elevated platform

THE ARTIST’S STAGE

6. (Sullivan and Twombly, 1988)

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Methodology | Form as a Direct Reading of Purpose

MASTERPLAN

The project in Villa Panza, in Varese was defined by some very specific requirements of the client. His role as an artist who would work, exhibit his art and live on the site as well as the need for a private space which would coexist with a public one to ensure exposure of the artist and his work to the visitors of Villa Panza, were two of the main considerations in determining the design methodology. Since these main aspects were related to the purpose of the project, it was evident that an approach following the theory of form defined by function would produce interesting results.

Circulation

Solid and void

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Flexible Furniture

Exposure to the public

As a starting point the two main functions that the building would have were

Starting by elevating the house on a platform and moving its base inwards

defined and later for each one of them a design decision was made which

so that it would seem like a floating stage to anyone standing on the garden,

was directly reflected on the building’s form. The building would provide

the building draws the attention of visitors. To contradict the completely

housing for the artist and therefore it also needed to grant him privacy from

enclosed volume of the main living unit, the platform was extended towards

the visitors, mainly from the side directly next to the public parking lot. For

the street, acting as an external open to the public part of the house which

this purpose, it was decided that the built form itself would act as a barrier

would allow the artist to interact with people. Finally, to further ensure the

between the project site and the parking lot which would appear as a solid

exposure of the artist and his work, this platform was even extended outside

wall without any openings. On the other side of the site looking towards a

the boundaries of the site on top of the street, protruding like a balcony

small garden accessible by the visitors and the artist himself, the main living

from the outer walls of the premises of the Villa. In this way the project and

unit of the building was designed to appear as a solid volume, implying

thus the artist would be noticed even from the street and the surroundings

in this way its function as a private part of the project. The only openings

of the site. To conclude, the overall method used in the design process

of the house are found on its roof and its lateral side looking to the street.

of this project consists of a very direct interpretation of its function and

The second objective of the project was to present and expose the artist to

translation of this reading to simple but thought out forms serving a

visitors, which was achieved through a series of adjustments that directly

specific purpose.

affected the appearance of the built form.

Private living unit and semi-private open platform

The stage as seen from the garden

Living unit and opening towards the platform

Lighting system - emphasis on the open platform

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Sections showing the interior private spaces

Physical model 1:20 - the effect of solid and void forms

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Living unit designed using the concept of enclosed solid volumes

Contrast between private and semi-private spaces

Perspective section showing the concentragtion of private activity

Physical model 1:20 - opened to show the living unit

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CONCLUSION Despite the constant progress of architectural design process and the

of the context, leading to a design process based on concepts such as cultural

innovative methodologies used, some of the predominant architectural

and urban sensitivity and eventual use of traditional typological aspects. In this

theories of the past are still adopted by architects during the conceptual

case, the relationship between theory and methodology can be considered

phase of projects, as they have been elaborated for practical use and not

as indirect since its effects can be identified mostly on the conceptual scale

just for theoretical purposes. What differs from one project to another is the

and not on the design.

extent to which theory has been utilized in the design process, the way in

Kenneth Frampton’s theory on Critical Regionalism also deals with the idea

which it has affected the methodology and whether this effect is evident

of using the study of context in the design process, however some of the most

in the final result or not. Through the investigation of three architectural

important aspects of this theory are the critical use of the context analysis,

theories and their implementation on different projects it became possible to

as well as the reinterpretation of what is perceived as context, using all senses

compare and contrast the different approaches based on the way theory was

rather than just sight. Consequently, this critical approach to the study of

interpreted and used in each design methodology.

context led to design decisions influencing in a more direct way the built

The first part of this study deals with Aldo Rossi’s theory on the importance of

forms, focusing on the experience of the environment. The effect of Kenneth

the study of history and its understanding as the collective memory of the city,

Frampton’s theory on the methodology applied to this project was thus more

as well as his views on the use of typological analysis. This theory in essence

significant to the final design and not only influential for the initial phases of

refers to a set of more general guidelines for the preliminary analysis phase of

the analysis like in the previous example.

the design process, that are deemed to be of great importance to the project’s

The last part of this study examines Louis Sullivan’s theory that form always

evolution. Thus, in the Istanbul project this theory established a starting

follows function, a theory which unlike the ones presented previously does

point that guided the analysis of the historical and cultural background

not deal with the context of a project but rather with its purpose. As it was

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BIBLIOGRAPHY stated by Sullivan, it should be perceived like a rule to be followed without any

Brawne, M., 2003. Architectural Thought And The Design Process. Oxford:

exceptions and since it relates to the physical aspect of a project, its form,

Architectural.

it is the most absolute theory out of the three. The effect of this theory to the method followed for the project in Villa Panza can be clearly identified

Frampton, K., 1983. Towards A Critical Regionalism: Six Points For An Architecture

in the end result as it directly contributed to the shaping of the built

Of Resistance. Seattle: The Anti-Aesthetic. Essays on Postmodern Culture.

form. Concluding this study with an example of a very absolute theory and its elaboration to a design methodology, completely different than the previous

Frampton, K., 2010. Modern Architecture. London: Thames & Hudson.

ones, demonstrates the wide variety of approaches that can be followed when integrating concepts from architectural theories into the design process.

Kruft, H., Callander, E., Taylor, R. and Wood, A., 2003. A History Of Architectural Theory: From Vitruvius To The Present. New York: Princeton Architectural Press.

Rossi, A., 2007. The Architecture Of The City. Cambridge, Mass: MIT Press.

Sullivan, L. and Twombly, R., 1988. The Public Papers. Chicago: University of Chicago Press.

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