Group 15 Group name :
Khalik Indra Parawangsa (2010812310023)
Muhammad Ramadhan Norhidayat (2010812310025) Muhammad Aulia Algifari (2010812310029)
Rizky Fitria (2010812320003) Miko (2010812310024) Courses : Bahasa Inggris 1 Lecturer :
Rudi Hartono, S.T., M.U.P Irma Fawzia, S.T., M.Arch.
Assigment 1 Outline
Book Architectural Thought The Design Process
PAGE 125-128 Material
Paragraph 1 : Materials are of necessity part of architectural thought.
Paragraph 2 : We communicate those choices visually as we communicate other aspects.
Paragraph 3 : Plans, sections and elevations have a level of precision in terms of the eventual building which is difficult to produce.
Paragraph 4 : Difficult to get architectural students to concentrate on the material aspects of architecture; on the solidity, reflectivity, texture, colour of the stuff that makes buildings.
Paragraph 5 : Thinking about materials has a further complication:the effect of weather over time.
Patagraph 6 : The choice of materials may be determined by resistance to change or characteristics .
Paragraph 7 : Architectural thought needs to include the selection of materials.
PAGE 129-132
Paragraph 1:
The fact that architectural thinking needs to include the choice of materials does not deny that choices may in certain times and places be quite limited.
Paragraph 2:
In the 19th century the proper use of glass and metal was in train stations, regional arenas, and building exhibitions but not in churches.
Paragraph 3:
Ecclesiologist (Slater, 1856) who remained on the project; built examples are in fact extremely rare and have continued to occur during the 20th century. When Sigurd Lewerentz, for example, used to roll steel sections at St Peter's Church in Klippan outside Stockholm from 1963–66, he did so sparingly and perhaps because the structural needs in brick buildings were dominant.
Paragraph 4:
Lewerentz Church in Klippan and her previous church in Björkhagen are great examples of taking matter - brick - and referring to its nature with love. Oddly enough, that to make a wall you need bricks and mortar. Both of them remember the weight.
Paragraph 5:
Both churches were built in a period when 'material truth' was a deeply held belief. Originating from Ruskin, immortalized by Frank Lloyd Wright, it became the mantra of modern architecture, based on a limited palette of materials.
Paragraph 6:
The apparent general attitude in society has an effect on the visual choices made by architects;
our eyes do not work independently.
Paragraph 7:
Historically we associate certain materials with specific periods of architecture and specific localities. The conjunction of time, place and material is, however, a matter of the availability of resources.
PAGE 133-136
Paragraph 1 :
Greece was highly developed in construction technology and the trireme was the most sophisticated of all wooden construction
Paragraph 2
-The Shinto shrine has been made of wood, especially since temples have been rebuilt at locations adjacent every 20 years for years
Paragraph 3
-Japan has a huge wall located in the temple of nijo, and it is made of stone measuring up to 130 feet [40 m],The function of the 40-meter wall was to reduce the effect of the quakes in the region.
Paragraph 4
-Charles correa defied the idea of architecture being simple and too easy to understand, according to him it has a lot of complexity but hidden, Now the designer does the elegant solution of the problem, which is that construction can be hidden.
Paragraph 5
-Charles Correa once remarked to me, perhaps in a moment of doubt (sometime before he was awarded the Royal Gold Medal for 1984 at Hampton Court when the Prince of Wales, in a lapse of good manners, thought it fit to attack modern architecture and, by implication, the recipient) that architecture is unable to sustain interest for the same length of time as a symphony or a great novel.
Paragraph 6
-Any discussion of materials must acknowledge the poetic attributes of many building materials and their strong association with the craft of making, both by hand and machine. Architects do not themselves now exercise a craft on the build-ing site but still find pleasure in choosing materials where there is evidence of craftsmanly skills.
Paragraph 7
-By carlo scarpa and mei Explain his newly aroused interest in design, now there A great deal of literature deals with its architecture And design in glass and silver.
PAGE 137-140
Structure Page 137Paragraf 1 :
Structure is governed by certain inescapable laws
the law of gravity, Hooke’s law on the relation of stress to strain within the elastic limit of a material, the distribution of bending moments in a beam to list some obvious examples.
Mathematical tests can be applied to a structural configuration to determine carry the loads imposed
tests can be carried out, a shape and a material have to be chosen.
More complex problem there is the possibility of choice and that choice is
Page 138
Paragraf 1 :
A beautiful and clear illustration occurs in the first chapter of Peter Rice’s An Engineer Imagines (1994)
the evocative autobiography published after his untimely death in 1992.
Paragraf 2 :
Beaubourg was won in an open international competition by Renzo Piano and Richard Rogers in July 1971 from among 687 entries.
Piano and Rogers had been encouraged to participate in the competition by Ted Happold who headed the Structures 3 group at Ove Arup & Partners, engineers, in London.
Flexibility was the idea which acted as powerful motivation and could justify many architectural decisions.
Large clear spaces, and thus long spans, were considered important if flexibility was to be achieved
Paragraf 3 :
The competition drawing of the structure shows a braced external skeleton consisting of water-filled tubes to provide the necessary fire resistance
The notion of a water-filled hollow structure clear of the building to extreme heat had been explored for some time previously by Ted Happold and Koji Kameya
the Popperian sequence, as far as the structure was concerned, was thus conditioned by current general ideas and personal interests.
Page 139
Paragraf 1 :
Answers (not least putting a column in the centre of the span) but were rejected because of the way the initial problem was viewed.
Problem recognition is one of the key determinants of design and is
Paragraf 2 :
This became even more obvious when the important joint between column and beam had to be explored.
Rice was convinced of the importance of detail after his experience of working with Jørn Utzon in Sydney..
Paragraf 3 :
‘I had been wondering for some time what it was that gave the large engineering structures of the nineteenth century their special appeal.
That is present in many of today’s great structural achievements, but they lack the warmth, the individuality and personality of their nineteenth century counterparts.
One element I had latched on to was the evidence of the attachment and care their designers and makers had lavished on them.
The cast-iron decorations and the cast joints give each of these structures a quality unique to their designer and maker, they were made and conceived by people who had laboured and left their mark.’ (Rice, 1994, p.29)
Paragraf 4 :
Soon after winning the competition, Rice went to a conference in Japan and visited what remained of the buildings of the 1970 Osaka World Fair.
There he saw a vast space frame with large cast-iron nodes with Koji Kameya and Professor Tsuboi as engineers.
He at once realised that cast steel had exactly the qualities he was seeking.
Page 140
Paragraf 1 :
Design decisions were therefore made on the basis of, first, a criticism of existing answers and, a model which was recognised as relevant to P1.
This is not a question of copying but of being stimulated by an existing structure/building to pursue a particular direction for which there was an already established sympathy.
(Rice, 1994, p.30)
Paragraf 2 :
Various solutions were proposed but eliminated on either architectural or engineering grounds.
The structural problem was compounded by the fact that on both sides of the clear span area there were zones of use
The structure had somehow to account for this a:b:a spacing in the cross-section.
Paragraf 3 :
‘I am no longer sure who, probably Lennart Grut, a nineteenth century German engineer who invented this structural system for bridges.
This solution simply and elegantly resolved all the conflicts’.(Rice, 1994, p.32).
Paragraf 4 :
It was then possible to proceed with the design of the other parts of the structure and to involve other members of the engineering design
What this part of the design sequence makes clear is the extent to which decisions are dependent on the knowledge available at any particular time.
Paragraf 5 :
Cast steel was not a material had been greatly studied and was coming into use in nuclear power plants and oil rigs.
The state of current knowledge became significant when it came to calculation and specification.
PAGE 141-144
Paragraph 1
-This process of error elimination, always gauged against the original hypothesis, namely that the
‘essence of the design given by the use of cast steel was that each piece was separate, an articulat- ed assembly where the members only touched at discreet points.
Paragraph 2
-What remains very clearly and has exerted considerable influence on very many subsequent buildings is the articulated exoskeleton
Paragraph 3
-with steps P1 to P2 which are part of the Popperian description of scientific research and which,
Paragraph 4
- an also be applied to design.
Structure has played a strong mythical role in architec- tural theory as the essential and irreducible logical part of archi- tecture
Paragraph 5
-Obviously that rea- soning could most readily be applied to structure.
Paragraph 6
-That drive to produce the least – not always the cheapest – structure has not died out.
Paragraph 7
- it is far from being the sole ground on which to assess structure or a building as a whole.
