![]() Following Aristotle’s line of thought, instead of Plato’s, might lead architects to consider the materiality of architecture earlier in the process, even from the very beginning. This means that these two elements, matter and form, are inseparable and are both needed to give meaning and substance to objects. His disciple, Aristotle, also wrote on the same subject but disagreed with his master on one key issue: he did not believe that the meaning of things can lay outside of them, that matter and form could belong to separate worlds. ![]() However, Plato is not the only thinker to tackle the problem of substance, matter, and ideas. The materials needed to bring architecture into the real world seem to be the very elements that detract from the purity of its ideas. This process usually comes with a fair share of frustrations on the part of the architect, as columns often need to be thickened and beams need to be widened. After the abstract concept is fully formed, materials are introduced as they are needed to give physicality to the ideas. This is when the materiality of architecture comes into play. In his myth of the cave, pure forms and ideas belong to a world transcending our own, and only their shadows, their imperfect manifestations, become visible to us. Plato, the Greek philosopher, would be proud. via Īt first, these shapes are rendered simply in white, as if taken directly from the World of Pure Forms. When sitting down at the drawing board, forms start to emerge based on constrictions and opportunities, needs and desires. Architects are somewhat justified in taking pride in their power of abstraction. It finds equilibrium between difficult dilemmas, it transposes the spirit of the epoch, as Mies van der Rohe famously claimed, it is an art form, while also having major social, economic, environmental implications. Maria-Cristina Florian, learner- batch 7, Writing/s in Architecture.Īrchitecture is not just about building buildings. ![]() Light spills through the glass apertures that infill each vault, highlighting the roof form.By Ar. ![]() Called “La Flor” (The Flower) by townspeople, a continuous interior space is enclosed by an singular sculptural surface. ![]() The iconic form of Los Manantiales was derived through continued geometric investigation. His construction of the Cosmic Rays Laboratory utilized hypars to add stiffness and minimize material thickness, and received international acclaim. A form Candela called “umbrellas,” created by joining four straight edge hypars, were an efficient way to cover large spaces such as markets and warehouses. Eschewing the trend toward reliance on complex mathematics, Candela developed forms where stresses could be determined with simple equations. Although he constructed some cylindrical forms, Candela working intensely with hyperbolic paraboloids, or hypars. There, concrete was an increasingly popular building material that represented modernization, efficiency, and a break from the past for a people who had just gotten through their own political upheaval.Ĭandela began building thin shell structures not for clients but as full scale experiments. During the war Candela was imprisoned, but given the opportunity to emigrate to Mexico as an exile. ![]()
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