composicion extra

Theme 1

Composition process from sketches to building

Lake Shore Drive, mies van der rohe 1946-48

Theme 1

Rotonda house mario botta 1982-84

Theme 2

Versalles - Louis XIV –

Gardener: Le Nôtre (1613-1700) – Jules Hardouin Mansart

Theme 2

Presencia puntual en terriotorio

The illinois utopia wright 1959,

Theme 2

Objeto autonomo y central muy reconocible.

No depende de composicion extendida

Toyo Ito Tower of Winds. Yokohama 1988

Theme 2

Intervención puntual en fachada.

Not a point but works as one.

Abertura como foco del edificio.

Poly Grand Theater Shangai Tadao Ando, 2014

Theme 2

Aggrupation of points

Casa de las conchas salamanca

theme 2

combination of horizontal and vertical

(Mario Botta)- Biabchi House, 1973

Theme 2

LINE, through a curve development

Julio Cano, 1976 Univ- Laboral Ourense

Theme 2

Repetition establishes a rule, norm (grid, modulation …

Braga Stadium –Souto de Moura 2003

Theme 2

In Architecture, a LINEAR COMPOSITION is performed, not a mere LINE

Gregotti, Univ. Calabria, 1973

Theme 2

Membrane that separates the outside from the inside

Herzog&De Meuron National Stadium, Beijing, China, 2008

Theme 2

Membrane that separates the outside from the inside

Sanaa, Bocconi, 2019

Theme 2

Delimiting wall

Different material , texture, view. Works as delimiting wall.

Wiess College – Machado&Silvetti, 2002

Theme 2

Chanelizing wall

working as a guide . Connecting spaces and making experiences.

Barragan Las Arboledas 1961

Theme 2

Forces you to surround the building to realize the masiveness of it.

Casa de los Infantes y la Reina” (Villanueva, 1785-97)

Theme 2

VOID VOLUME

What matters here is the void.

Plaza Mayor Salamanca, Alberto Churriguera, 1755

Theme 2

8 subsidiary places around the central Tower , each have their own limits. The last Embracing limits

St. Basil's Cathedral, Barma y Postnik Yakovlev, 1555–1561.

Theme 3

SHAPE never can be determined totally by the FUNCTION...

Single house Shigeru Ban. Crescent House, 2007

Theme 3

Integral Ornament is the developed sense of the building as a whole, or the manifest abstract pattern of structure itself. Integral Ornament is simply structure pattern made visibly articulate and seen in the building as it is seen articulate in the structure of the trees or a lily (lirio) of the fields. It is the expression of inner rhythm of form”.

Municipal Stadium Braga, Eduardo Souto de Moura, 2003

Theme 3

The deployment (despliegue) and progressive enrichment of a BASIC COMPOSITION THEME; the bearer (portador) of the FUNDAMENTAL MEANING of the design

Casa mila gaudi, 1910

Theme 4

implicit axiality… and INCLINED

Piazza di spagna
Francesco de Sanctis y Alessandro Specchi
1723–1726

Theme 4

Balance

Cornell University Residence, Richard Meier, 1974

Theme 4

Balance

Scharoun, Filarmónica Berlín, 1963

Theme 4

tanto mejor será la simetría cuanto más difícil resulte distinguir el ej

Alejandro de la Sota-Gobierno Civil, Tarragona, 1956-63

Theme 4

Elements assembled

Cathedral of Cologne, Germany, 1248

Theme 4

T4-Rogers-Lamela, 2006

Theme 4

Nowadays, both techniques may appear at the same time (“molding” and “assembly”): Overlapping the plastic material, heavy and “deaf” of the reinforced concrete, and the “sonority” of the light steel structures

Miró Centro Rest-CU, higueras 1961-70

Theme 4

Example of decomposition

Tuñón-Mansilla Institutional Building in the City of Environment, 2007

Theme 4

Include modernity respecting the past. Create Contrast Ref (jewllery in velvet tray)

Controversial at the time

Louvre extension, I.M. Pei, 1989

Theme 5

Divided the main library and the offices/conference room in the other building.

Aggregation of basic geometry

Aalto, Viipuri, 1927

Theme 5

Aggregation

RCR - Casa horizonte, 2007

Theme 5

Botín Center, Renzo Piano, 2017

Theme 5

Crisscross network

Grid

Kahn – Indian Institute of Administration, India, 1963

Theme 5

Orthogonal grid

Patio houses Matosinhos, souto de moura 2000

Theme 5

Square grid

Gobierno Civil, Tarragona Alejandro de la Sota, 1957

Theme 5

Irregular geometries

Kahn - Dominican Sister Convent, Penn, 1968

Theme 5

Part equivalent to whole

BBVA Tower, Madrid, 1981 Javier Sáenz

Theme 5

Aggregation of parts to form a whole.

Some projects are more complex.

Each of the parts contribute to the Whole.

Can Lis , Utzon, 1970

Theme 5

The parts that build the whole are not the same. Not all of them are equally important.

complement

Villa Rotonda, - Andrea Palladio, 1566-1571

Theme 5

Addition

Kahn – Assembly Bangla Desh, 1982

Theme 5

Substraction

Toyo Ito, House U, 1976

Theme 5

Reduction bigger-smaller

Cultural Center in Wolfsburg, Alvar Aalto, 1958-1963.

THEME 5

ANALOGY- EQUALITY

In some cases there is an equality in plan-section .

Pantheon of rome

Theme 5

Analogy- proportionality

Cultural Center in Wolfsburg, Germany, Alvar Aalto, 1958-1963.

Theme 5

Inversion

Herzog&De Meuron, BBVA, 2015

Theme 5

Unique surrounded by the repetitive

FUB Biblioteca Foster 2005

Central element that breaks completely the shape of the initial element.

Unique, special , different.

Contrast

Whats the meaning?

Surrounded by elements that repeat.

UNED Library, Linazasoro, 1993

Theme 5

Repetitive surrounded by the unique

Utzon – Baagsverd Church, 1976

Theme 5

Unique within a repetitive field

Altes Museum Berlín , Schinkel, 1828

theme 5

Balance

Herzog&De Meuron – Caixaforum, 2008

Theme 5

Casa de las Flores, Zuazo, 1932

Theme 5

Linear axis-curved line

Aulario Universidad de Vigo, Enric Miralles, 2004

Theme 5

Linear axis

Ciudad Universitaria Madrid, 1928

Theme 5

Central concentric

Lighthouse-Pta-Nariga, César Portela, 1992

Theme 5

Center excentric

Chandigarh Assembly, Le Corbusier, 1961

Theme 5

Multi central

Carpenter Center, Harvard, Le Corbusier, 1961

Theme 5

Multi central

C.M. César Carlos, Alejandro de la Sota, 1967

Theme 5

Mimicry

Induced by the natural site shape

Casa Levene , Eduardo Arroyo, 2006

Theme 5

Mmimicry

Induced by the architectural preexistences

Casa Caritat-BCN, Piñón-Viaplana, 1993

Theme 5

Organizative: the type

Convent La Tourette, Le Corbusier, 1957

Theme 5

TRANSITIONS

Internal to the building: Homogeneous (formal continuity)

Imatra Church Aalto, 1959

Theme 5

Transitions

Internal to the building

Heterogeneous (formal alteration)

James Stirling, Museum Stuttgart, 1984

Transitions

External to the building

Series (homg-heterog)

Sanatorium antituberculous, Paimio, Aalto, 1928-33

Transitions

External to the building

Formal linkage with the environment

Ugalde House, Coderch, 1952

Transitions

External to the building

Formal linkage with the environment

Mount Angel Library, Alvar Aalto, 1970

Theme 6 The architects of the Renaissance recovered the Greek proportions, understanding Architecture as Maths translated into spatial units.

Brunelleschi, Hospital of the Innocents, Florence, 1455

Theme 7

Segovia, Casa de los Picos, s. XV

Theme 7

Unsteady. When the vertical movement goes down to the floor it seems steady (unlike herel .

Trump Tower, Der Scutt, 1983

Theme 7

Buildings withouth floors seem to penetrate the ground

Ford Foundation, roche

Theme 8.1

Mies van der Rohe, Weissenhof Siedlung, Stuttgart 1927

Theme 8.1

Introduced a completely different language .

Brutalist .

Framing the ocean

Luis Kahn, Salk Institute, 1959 -65

Theme 8.1

LIMIT OF GLASS is mimicked with typologies of the urban environment--- the building acquires an urban dimension

Library mvdrv – winny mass

Theme 8.1

LIMIT: between MASS and VOID (surrounding space)

The Architectural OBJECTS within a context are SOLID bodies which “emerge” in the middle of the general VOID. And the space between them is filled with “expressive tension”

Columbus Circle, NY, 2004 SOM

Theme 8.1

The LIMIT as project genesis

Axel-Springer-Neubau Rem Koolhaas (Berlín, 2019)

Theme 8.1

The limit as a project genesis.

SKIN is more important than the BODY. A broken SKIN of the building, a DYNAMIC skin which connects in a chnging way INTERIOR-EXTERIOR. Interest in isolating the SKIN from the BODY in the Architectural piece

Thom Mayne, Cooper Union (NY), 2009

Them 8.1

BIOMIMETIC ARCHITECTURE

Hexagonal skin inspired by the sponge of the Venus flower basket. This glass sponge is found in deep ocean a peaceful underwater environment with strong water currents and its silica cross-linked exoskeleton and Round shape helps to disperse these tensions in the body

Norman Foster, Gherkin Tower (2003)

Theme 8.2

Alternative manipulation of the limit

James Stirling, Florey Building, 1971

Theme 8.2

Fira tower, Toyo ito 2009

Theme 8.2

Asplund, Library Stockholm

Theme 8.2

“Architecture as the wall between the inside and the outside becomes the spatial record of this resolution and its drama . And by recognising the difference between the inside and the outside, architecture opens the door once again to an urbanistic point of view ”.

Pierre Chareau – Maison de Verre , París, 1928 -32

Theme 8.2

Sensitiveness towards the PLACE – The LIMIT is modified (curve in angle): -URBAN PLACE : limit in the angle of streets + rhythm in windows -Cultural PLACE: Curve that evokes the German Expressionism -EMOTIONAL PLACE: Berlin….

Siza, Schlesisches Tor Berlín, 1984

Theme 8.2

El límite como guardián

Proceso gradual y selectivo del muro, en busqueda de ligereza. Opto por abrir una masa.

Deambulatorio.

Espacio categorico y abierto.

La columna como limite.

Temple of Paestum (s. IV a.C.)

Theme 8.2

Columns work as limit

Bernini Piazza Vatican, Rome Baroque colonnade -1656-67

Theme 8.2

ARCHITECTURE AND PLACE:

If an architectural work emerges within a physical, cultural, social, etc…context (in a PLACE), those pre-existences should be considered as PARTS of that architectural work. Although they are not designed by the architect, what can be DESIGNED by the architect is their active and generating CONNECTION with the architectural object

Navarro – Altamira Museum, 1995