Monday, May 04, 2020

Architectural Clavis




Aesthetic

How does an object look? Should we critique an object on its looks? Or is an objects aesthetic a defined set of responses for a look, one that unifies a vision? Maybe it’s not so obtuse, and probably involves all the above, but not yet considered as personal. An aesthetic has to be personal, otherwise a response will not exist.
Francis D. K. Ching describes ‘’aesthetic’’ as the branch of philosophy that deals with the nature of art, beauty and taste, with a view to establishing the meaning and validity of critical judgements concerning works of art… Visual Dictionary of Architecture pg.10
A conscious use of the senses to understand the environment which manifest in an aesthetic response… as Bloomer and Moore described their understanding to aesthetic as being the ‘’sensual social art response to real human desires and feelings…’’ In relation to buildings, architecture has to do with the planning, designing and constructing form, space and ambience that reflect functional, technical, social, environmental, and aesthetic considerations.

Architecture

‘’The art and science of designing and constructing buildings’’. Outside this seemingly simple explanation lies many complex analogies in which a sense of the word is more often referenced. Where a simple activity includes for the building only, other habitable environments are also part of architecture, the built-environment could be used as a more encompassing phrase. Conceptually shifting the sense within limited boundaries, it can also mean the style and/or method of a built-environment characteristic of a people, place or time but one thing that unifies the many significance of the word is the conscious act of forming things resulting in a unifying or coherent structure.

Aspect

A term with multi meaning within architecture, the first being an aspect of view, when in a space, positioned in a particular spot, oriented to a specific direction, this is an ‘aspect’ of which the Architectural Practitioner must consider and re-consider during the design process. Architecture also encompasses the pragmatic ‘aspects’ of realizing buildings and structures, including scheduling, cost estimating and construction administration.

Building Regulations

The series of ‘’Approved Documents’’ used by construction professionals (produced by The Ministry of Housing, Communities and Local Government) are published as guidance on ways to meet building regulations. The building regulations themselves are stature law and generally short with no advice or guidance.

An important note is that the Approved Documents are guidance and other robust details are possible to achieve the building regulations, there are other ways to satisfy the rules.

Circulation

Although a seemingly easy task to analyse, this aspect of architecture can be forgotten, meaning the existing/current circulation remains after major structural work will have changed the massing and orientation. Good circulation is the confirmation that movement from activity space to activity space is generous and instinctual. Any change in architecture demands a re-visit and for something as fundamental as circulation needs to be revisited several times to challenge the revised and renewed philosophy. Fundamentally, circulation is the convenience of the space for the client; this must be set to optimum.

Client Representative/ Compliance Teams

Dependant on contracts (whether traditional, D&B or management) the client will always need a group of trustworthy paid professionals. The minutiae of responsibility is not being explained here but the importance of the team is. The advice given by these professionals needs documenting, and distributing so each and every member knows the comments and thoughts of the other. This leads to satisfied clients with a project even the professionals are glad to have been part of.

Traditionally an architectural practitioner takes the lead role, but it has been known for designers and struct. eng. to also adopt this responsibility. In pure management contracts it is deemed that the client themselves, by default, is the ‘head’ in the project hierarchy. Where nowadays the pure contract form is rare to find, the best tool is a design responsibility matrix where responsibilities are allocated early on when building the team.
BIM, Construction and NBS: BIM and LOD


Environment

In architecture this is often used with specific focus on the edifice and its immediate surroundings, the totality of surrounding conditions. It is used for both physical and metaphysical descriptions.

To satisfy the contemporary ethos a building should be constructed in a manner which is environmentally friendly in terms of the production of its materials, its impact upon the natural and built environment of its surrounding area and the demands that it makes upon non-sustainable power sources for heating, cooling, water and waste management and lighting.

Further environment conditions are … activity, lighting,

Function before form

This approach to architecture is both hugely overused and then term hugely mis-interpreted. The principle philosophy stems from the late nineteenth century when developments in materials allowed architects to flex the structure rather than continually adorn post and beam structures with ornamentation. The two activities ‘function’ and ‘form’ are often considered to be separate when, for them to perform to their ambition, they do indeed need to be one; and are indeed one. The idea that design is driven by function is admirable and must be encouraged BUT, the form be reflective by nature of the process. The following of the rules demands the two be one, creating integument systems which become the space.

Fixtures and Furnishings

Seemingly simple to differentiate but at times the lines become blurred, the contract not clear enough and litigation pursues. At high level, fixtures are all the items fixed into place during the build; think plumbers’ pipes or electricians’ cables, pretty much anything that cannot be removed without major work. What needs confirming are the visual aspects associated with these parts of the works, and if they are included in your contract; indeed, if they are included, then what quality level is included. I would look at these items as being necessary for the installation to work, without them the complete fixture is not fit for purpose but the finishing touches can leave a lot to be desired from both an aesthetic and quality perspective...

Furnishings are pretty much everything else that coalesces the interior and exterior aesthetics, such as tiles for walls and floors, carpets, joinery… furnishings are often an afterthought but with some foresight you can increase the quality of the build. The integument can be designed to accommodate perfectly the furnishing and make more robust the installation.

Sustainability

Does not and should not mean expensive; nor does engaging sustainable processes mean you will become an eco-warrior who’ll start hugging trees (although I highly recommend the later) but it does mean you can do your bit. Surprisingly to some, sustainability on the right shoulders can actually be time and cost saving, it all needs to be weighted up and seen as a whole. So, as well as the low carbon, ‘’ reduce re-use recycle’’, green cred, and other monikers bounded about, sustainability can cost you less; both immediately and longer term.

Residential example - A simple example might be (if your lucky enough to live in a 2 story or taller abode) the diversion of bath water into a wall mounted reservoir (generally to the side of the house) and then use this ‘grey’ water for flushing a ground floor toilet. No mechanical machines needed to affect cost and introduce maintenance, plus downstairs loos are known to be used more than those upstairs due to the living quarters being on the ground floor. A simple diverter valve can also be used in the even the reservoir fills up and needs draining into the main water sewage system. Simple and all gravity fed. (This can scale from a single abode to buildings of multi occupancy/apartments or even hotels.)

Residential example - Another good example is the misnomer that green/brown roofs are high maintenance, risky regards keeping alive and expensive to install.  When procuring the roof, choose EDPM, a single ply membrane material that reduces risk of water ingress often found with other systems when water leeches in joints; then with careful specification, choose the most appropriate growing medium and corrugated trays and voila you have a low maintenance green/brown roof. Get the flora right and the fauna will follow too; dress the space with logs and stones for a more ecological twist giving an even lower maintenance roof.

e.g. Green roof section drawing.

Outside these two pretty small-scale sustainable systems, larger processes from solar to wind to ground sourced heat are configurable to power the whole property or simply power an aspect important to the client. We have installed a hot water valve system where it supplied hot water for the underfloor heating system installed on the whole ground floor of a cottage. Grid electricity remained and all the water/waste was schemed as a traditional 2 pipe system.

GREENWASH – Usually associated with marketing companies trying hard to make their clients looks good, when really, they are pretty atrocious, but can be transferred as a principle to residential scale discussions.  Typically used by people who don’t really know what they are talking about and often a disguise to pulling the wool over our eyes. Often when a sustainable credential is not exactly what is seems, then this will be the greenwash. Offset of carbon credits is the corporate term, and on site, any ruthless builder will say ‘… don’t need to separate our waste, just chuck it in the skip. They do all dan the waste recycling place..’; just a different type of greenwash. If your waste is not separated then it goes into general waste and off to land fill rather than re-used, recycled or reduce




Friday, November 01, 2019

Do science and museums conspire to survive?

Science as a murderous collaborator with museums.
For a tradition to remain within the semantics and souls of people, it must seek to engage and be adopted; this sub-memetic event makes it run the risk of it becoming a simulation of itself. A mirror image of the tradition & it is here science preys, this is where science hunts for objects to put on show for its attraction, and pleasure.

The 'edifice' questions the chance for tradition; more precisely, revived tradition to not merely simulate itself, but live, grow and replicate to inform new generations. The real truths lie in the activity of tradition.

Case Study: Ningbo Museum. 
https://www.dezeen.com/2016/08/18/video-interview-wang-shu-amateur-architecture-studio-ningbo-history-museum-movie/ 

Materials reclaimed locally in this example have a history (from old housing or civic buildings); does their use in the defining of a space which will exhibit dead objects as a way of ‘’pro-memoria’’ constitute reincarnation? Should it allow them to continue as characters, or are they fundamentally dead building blocks, reflecting the objects they shelter and protect? Provenance would help conclude these un/truths.

The march of the Anthropocene regardless to loss of habitat, skills in language and technical ability.

The building crafts & ancient skills revitalised and used had died out; and unless it was divine intervention which is unthinkable, they died out for a reason; this reason is because the technological revolution made them redundant; they exist merely as a nostalgia. Is it Wang Shu’s ego that drove their re-introduction? Will an echo of the revived activity fade with time, quality diminishing and finally lose to imagination. The ambition comes from architectural thinking that exists in the classical era but does not have a place in the Anthropocene, cannot survive the structuralist times in which we live. 'A' for effort rather than its success in truth.


 The truth that stands out is one of science being a murderous collaborator with museums. For tradition to remain alive it must be engaged; the risk of engagement after its disappearance is it becomes a simulacrum of the tradition; it is here science steps in to kill the tradition and put it n the museum… so the building begins to question the chance for tradition, more precisely, revived tradition to not merely simulate itself, but live a grow to inform new generations. The truths lie in the activity those traditions are re-engaged to do. The materials reclaimed from the surrounding villages may have come from housing or civic buildings, so, does their use in the defining of a spaces to exhibit dead objects as a way of ‘’pro-memoria’’ for the future constitute a reincarnation, and allow them to continue from where they left off? I would argue the provenance would help conclude these truths. The obvious evidence of the march of the Anthropocene, apparent in the derelict villages where the advance of the city marches on, regardless to the loss of not only habitat, but also of skills in language and technical ability. The building skills that where revitalised died for a reason; is it Wang Shu’s ego that drove their re-introduction and will they ever be used again, or will an echo of the activity fade with time, the quality dimishing and the final carve lost to an imagination. The ambition comes from an architectural thinking that exists in the classical era, maybe even the renaissance but does not have a place in the Anthropocene, cannot survive with the structuralist times in which we live and needs to realised for its effort in truth, rather than its success in being truth and thus existing with integrity.

Tuesday, February 12, 2013

Needs and Nice to Haves

We have a responsibility to deliver natural environments: whatever socio-economic, political or material constraints may exist.

Part L of the Building Regulations concerns itself with the conservation of fuel and power; translated, the global concern for alternative and renewable energy sources has affected the way we build. The main contenders, Nuclear and Wind Power are dangerous and relatively expensive to set up, so reducing energy consumption will allow exploration into new resource with less pressure to make mistakes.

CIBSE guides have addedd a further dilema by insisting on minimum levels of both direct and in-direct lighting (recorded in lux/lumens) for all interior environments both private and public.

The following will attempt to balance the rules using analysis of performance and reliability within parameters and attributes widely accetped. The areas will revolve around the light source, its diffuser and the immediate surrounding environment to the light fixture and housing.

Concept Solution

With a new mode of living and advances in artificial light; inspiration comes from natures positive influence on humans psycho-physical comfort. Couple this with anindirect lighting system that mimics naturally diffused light, and you have a unique un-obtrusive lamp.

Problems that may arise

Current LV lighting/lamp technologies tend LEDs to the forefront of this solution because of the relatively low heat dissapation and low energy consumption compared to cold cathode and regular halogen lamps.

The heat and lux omissions of LEDs are not directly proportional to that of other lamps and it is therefore difficult to compare but with LEDs becoming more readily available (along with low emission cathode tubes) more opportunitites are arising.

Realistic Solution

Light source - The nature of the brief tends towards use of both top and side emitting LEDs, this alloows greater lux in dispersed controlled areas, with little or no loss of power. Although viewing angles can be anything from 25-120 degrees, the wider the viewing angle the lower the luminous intensity of the beam: by composition of the two types a more optimum result can be achieved (they can be dimmed using pulse width modulation electronically controlled dimmers).

Colour has always been a concern, white LEDs (as opposed to yellow, green, red and blue) is a poor emitter of lumens; even with modern lenses a cluster of 32 LEDs will have a luminous intensity of approximately 74 lumens hence the importance of diffusers and material properties. To introduce colour as an option can be entertained; much can be learnt from the vibration when related to daily atmospheres.

Sustaina-blah Architecture

Does Architecture and those who work within it, really need to be taught about 'sustainability'; is it not inherently obvious for a sector whose disciples boast a minimum 9 years in education, have a balanced skill set with art and science both freely explored to manifest in creations that offer shelter. Surely these intellectual migrants ebb and flow with energy spurting from cerebral relief valves, understanding the holistic nature of security that plagues the human psyche. fear is an emotion we involved in architecture should alleviate when driving a project towards fruition. So why oh why do we need to have 'sustainability' introduced into a work schedule when it is inherent in the work we do?

Thursday, May 26, 2011

Can colour &/or sound heal the human body?__ Of course they can!


The fact that energy cannot be created nor destroyed, and that it is merely transferred, is not new (Conservation Laws within the Laws of Physics). Physics has spoken for centuries of atomic structures made from electrons revolving around a nucleus of protons and neutrons; & a complex mix of quarks balancing the magnetic energy of the atom. Within these base elements, rogue electrons offer the possibility of compounds; together the base element compounds will display an alternative character... with all this happening at molecular level a crude conclusion could be that the human body has a resonating blueprint. It is also well known that these base elements vibrate/resonate in relation to their atomic weight. This vibration comes from the magnetic force within the cells pushing and pulling against each other and creating resonant frequencies… hopefully you know have an image of humans being a busy collection of resonating, vibrating atoms.

Colour and sound has always been described as having ‘vibrancy’ and ‘frequency’; technically they both travel across space on waves of energy, and dependent on the sound or colour, they interfere with this carrier by adjusting the electron particles to carry them. For our eyes to see colour, and our ears to hear sound, these carrier waves are manipulated by the source (sound or colour) to arrive at the receiver (eye or ear) in their original form. Taking a high level view, a relationship can already be seen between the resonance of sound and colour and the resonance of the human blueprint!

Making a brash conclusion to the healing potential of this research, I propose looking at a basic ailment such as a deficiency (calcium for example). Calcium has an atomic weight of approximately 40.078, in direct relation to waves (Hz or kHz) would imply the ‘A’ key in music, and either violet or red (depending on wavelength of frequency) from the colour spectrum… I suggest that the human blueprint, in this instant, is failing at the critical moment to resonate at its predicted 40.078 (be it Hz/kHz is still to be explored) and thus the body is not able to absorb calcium efficiently, or at all. Osmosis happens through movement, and when wavelengths/frequencies coincide, a myriad of outcomes in nature are apparent; in biology, this phenomena result in absorption.

My intrigue asks, if a colour that exhibits the resonance, or triggers the vibration in the order of 40.078Hz/kHz & was introduced into the environment of a person who has this simple calcium deficiency, would a knock on effect be positive in 'manually' resonating the human blueprint into absorbing the calcium and thus offering healing qualities?

Sunday, January 17, 2010

Pause for thought?

Has the development of vernacular architecture affected the human form? Or conversely, would the creative schemes planned influence the organic growth of humans, over a period of time?

Impact of function and form are varied and often individual, so vernacular begins to harmonize a region, culture, race and creeds habits into a recognizable shape. Obviously it could be the response of humans or the will of architects that create this typology, but in all instances, it should be clear that it has effect at all levels. From extensions to iconic, the processes balance existing and invented ideas.

Do you ever use items and think they are clearly badly designed? Existing commodities such as glasses or cups, being round, are ergonomically suited for the purpose, but their existence in cupboards is marred by the fact they are not. Easy to store. They clearly leave lots of 'dead space' making them in-efficient when not being used. Can this statement be made about what we do as architects. Are our designs great for a particular purpose and defunct 'out of hours'?

Sunday, November 29, 2009

Exploring with photography...

...these photos set out to express and judge a view first of 'Work, Rest & Play' then progress to an instinctual proposal of the 5 senses.



WORK



REST



PLAY





TOUCH



TASTE



SMELL



SIGHT



AURAL