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Architecture Constructed explores the central, open secret of architecture: the long-suppressed conflict between arche and teckton between those who design, and those who build. This unresolved tension has a centuries-old history in the discipline, persisting through Classical and Renaissance times to the present day, and yet it has rarely been addressed through a historical and theoretical lens. In this book, acclaimed architectural theorist Mark Jarzombek examines this tension head-on, and uses it to rethink the nature of the history of architecture. He reveals architecture to be a troubled, interconnected realm, incomplete and unstable, where labor, craft, and occupation are the invisible complements to the work of the architect. Erudite, entertaining, and full of surprising and thought-provoking juxtapositions and challenges, Architecture Constructed is packed with novel insights into the internal conflicts and paradoxes of architecture, and is rich with examples from modern and contemporary practice including Mies, Koolhaas, Potrc, Hadid, Bawa, Diller + Scofidio which demonstrate how contemporary architecture inhabits the very same tensions that have riven the discipline since the days of Alberti. This provocative book will stimulate conversations among students, researchers, and designers, as it pushes the boundaries on how we define the professional discipline of architecture and overturns entrenched assumptions about the nature of architectural history and theory.

Architecture --- Building --- Philosophy. --- History of architecture --- Theory of architecture --- Philosophy

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The conference proceedings are a collection of contributions from the 4th Forum Architekturwissenschaft on architectural design and its artifacts. The Conference was held in November, 2017 at the TU Berlin. Contributors to the present publication are interested in the epistemic potential of sketches, renderings, models, photographs and drawings in architectural design. All follow the thesis that media in the draft not only depict, but in turn are the basis of further acts of knowledge. Using case studies ranging from the Middle Ages to the present, the texts trace the particular qualitative influence that "making" a design has on the artifact for this design. The structure for both the conference and this publication came out of the attempt to bring together theoretical positions and the results of practical work - artifacts: The conference was associated with an exhibition at the Museum of Architecture of the TU Berlin and in the present volume, theoretical contributions alternate with textual descriptions of the shown artifacts.

Theory of architecture --- design --- sketching --- drawing --- scripts --- models

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The three texts collected in this book ('Tectonics in Architecture') maintain the common view of architecture as craft, in the ancient Greek sense of poiesis, as an act of making, the making of material objects. This craft is assigned the term tectonics. The central text of the book is the essay written by the architectural theoretician Kenneth Frampton, in which he responds to the burning problem of architecture: the closing of the possibilities for architecture to work as a creative, thinking practice. His thesis maintains that in order to resist this process of turning architecture into but a giant commodity, an insistence on a specifically architectural way of making of objects is necessary. And according to Frampton, this specific architectural way of making is what we would call construction, that is, tectonic construction. In order to preserve architecture, a return to tectonics is needed. And a return to tectonics is an emphasis on the material base or ground of architecture. In developing this thesis Frampton follows the work of two German architects of the 19th century, Karl Bötticher and Gottfried Semper, who first elaborated the term tectonic in the modern sense. This book includes parts of their respective studies: the preface and part of the introduction of Bötticher's seminal work The Tectonic of the Hellenes, and the fifth chapter of the Semper's celebrated work The Four Elements of Architecture. Skupno stališče v knjigi zbranih treh besedil je, da je arhitektura veščina v starogrškem pomenu besede poiesis, izdelovanja, in sicer izdelovanja materialnih objektov. To veščino opredeljujejo s terminom tektonika. Osrednje besedilo knjige je esej arhitekturnega teoretika Kennetha Framptona, s katerim odgovarja na problem, da se danes zapira možnost za delovanje arhitekture kot kreativne miselne prakse. Njegova teza je, da moramo, če nočemo privoliti v to, da postane arhitektura le velikanska tržna dobrina, vztrajati pri tem, kar je specifično arhitekturni način izdelovanja objektov. To pa je po Framptonu konstruiranje in sicer tektonsko konstruiranje. Ohranitev arhitekture zahteva danes vrnitev k tektoniki. Vrnitev k tektoniki pa je poudarek materialnega temelja arhitekture. Frampton se pri zarisu te teze opira na delo Karla Bötticherja in Gottfrieda Semperja, dveh nemških arhitektov iz 19. stoletja, ki veljata za utemeljitelja pojma tektonike v modernem pomenu besede. V knjigi so objavljeni odlomki iz njunih študij: predgovor in del uvoda v Bötticherjevo temeljno delo Tektonika Grkov in V. poglavje slavne Semperjeve študije Štirje elementi arhitekture.

Theory of architecture --- architectural constructions --- architecture --- tectonics --- theory --- arhitektonske konstrukcije --- arhitektura --- tektonika --- teorija

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Bramante’s skill in controlling the creation of a seamlessly conceived space shows how architecture can exploit its representative capacity of internal perspectives, considered architecture integration. The key adopted to reach this result is the “architectura picta” of the built space. It adopts built space combined with small apparatuses to conceal the critical points in which the continuity between real and virtual space is resolved. The multiplication of centers amplifies the effectiveness of the perspective, making it convincing from several points of view, even for a moving observer. The implicit perceptual effect overcomes the geometric correctness, which was neglected to enhance its effectiveness as a tool for creating a global and augmented art “ante litteram”. The research published in this volume documents, through a small number of selected cases studies, the unsuspected development in Lombardy in applying perspective decoration to architecture, understood in the broadest sense as the art of constructing artificial space. This latter consists of controlling the instruments of representation to improve perceptive involvement and visual communication. It underlines the continuity of Milanese perspective with the immersive spaces of augmented reality offered today by digital technology.

Theory of architecture --- Perspective --- Architectural Perspective --- Architectural Survey --- Virtual spaces --- Spatial design --- Perception and spatial communication

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The three texts collected in this book ('Tectonics in Architecture') maintain the common view of architecture as craft, in the ancient Greek sense of poiesis, as an act of making, the making of material objects. This craft is assigned the term tectonics. The central text of the book is the essay written by the architectural theoretician Kenneth Frampton, in which he responds to the burning problem of architecture: the closing of the possibilities for architecture to work as a creative, thinking practice. His thesis maintains that in order to resist this process of turning architecture into but a giant commodity, an insistence on a specifically architectural way of making of objects is necessary. And according to Frampton, this specific architectural way of making is what we would call construction, that is, tectonic construction. In order to preserve architecture, a return to tectonics is needed. And a return to tectonics is an emphasis on the material base or ground of architecture. In developing this thesis Frampton follows the work of two German architects of the 19th century, Karl Bötticher and Gottfried Semper, who first elaborated the term tectonic in the modern sense. This book includes parts of their respective studies: the preface and part of the introduction of Bötticher's seminal work The Tectonic of the Hellenes, and the fifth chapter of the Semper's celebrated work The Four Elements of Architecture. Skupno stališče v knjigi zbranih treh besedil je, da je arhitektura veščina v starogrškem pomenu besede poiesis, izdelovanja, in sicer izdelovanja materialnih objektov. To veščino opredeljujejo s terminom tektonika. Osrednje besedilo knjige je esej arhitekturnega teoretika Kennetha Framptona, s katerim odgovarja na problem, da se danes zapira možnost za delovanje arhitekture kot kreativne miselne prakse. Njegova teza je, da moramo, če nočemo privoliti v to, da postane arhitektura le velikanska tržna dobrina, vztrajati pri tem, kar je specifično arhitekturni način izdelovanja objektov. To pa je po Framptonu konstruiranje in sicer tektonsko konstruiranje. Ohranitev arhitekture zahteva danes vrnitev k tektoniki. Vrnitev k tektoniki pa je poudarek materialnega temelja arhitekture. Frampton se pri zarisu te teze opira na delo Karla Bötticherja in Gottfrieda Semperja, dveh nemških arhitektov iz 19. stoletja, ki veljata za utemeljitelja pojma tektonike v modernem pomenu besede. V knjigi so objavljeni odlomki iz njunih študij: predgovor in del uvoda v Bötticherjevo temeljno delo Tektonika Grkov in V. poglavje slavne Semperjeve študije Štirje elementi arhitekture.

Theory of architecture --- architectural constructions --- architecture --- tectonics --- theory --- arhitektonske konstrukcije --- arhitektura --- tektonika --- teorija