Practical Poetics In Architecture

Integrate poetics into real-world spaces by bringing theory down to earth Practical Poetics in Architecture takes poetics out of the theory class and into the design studio, showing architects how the atmospheric and experiential qualities of built structures can be intentionally considered and planned. With an emphasis on analysing and explaining the sensibility of poetics at work in designing and constructing architecture, this book features projects from architects around the world that demonstrate the principles of poetics come to life. The rich illustration of two hundred colour images, including analytical diagrams, plans, sections, and photos, make this insightful guide a highly visual foray into a topic that has thus far remained more theoretical than practical. The text is matter-of-fact and concrete, yet remains richly connected to its forbears and the writings of William Lethaby, Gaston Bachelard, and Steen Eiler Rasmussen. The perspective is contemporary in its examples and its connections to the evolving science of perception. An established seminar topic in theory classes around the world, poetics tends to rely heavily on classic philosophic texts — until now. Practical Poetics in Architecture brings theory down to earth to show architects how to invoke poetics when designing real projects. Integrate poetics principles into real-world designs Consider atmosphere in terms of form, space, and acoustics Study actual projects that bring poetics into real spaces Take cues from analytical diagrams of projects accounting for context Poetics — the accumulated experience of place, space, and culture — has become more critical in recent years as the atmospheric and experiential qualities of built spaces have become more elusive in the virtual age. Practical Poetics in Architecture provides real guidance for real projects, and brings poetics out of the mind and onto the plans.

TECHNICAL

Integrate poetics into real-world spaces by bringing theory downto earth Practical Poetics in Architecture takes poetics out ofthe theory class and into the design studio, showing architects howthe atmospheric and experiential qualities of built structures canbe intentionally considered and planned. With an emphasis onanalysing and explaining the sensibility of poetics at work indesigning and constructing architecture, this book featuresprojects from architects around the world that demonstrate theprinciples of poetics come to life. The rich illustration of twohundred colour images, including analytical diagrams, plans,sections, and photos, make this insightful guide a highly visualforay into a topic that has thus far remained more theoretical thanpractical. The text is matter-of-fact and concrete, yet remainsrichly connected to its forbears and the writings of WilliamLethaby, Gaston Bachelard, and Steen Eiler Rasmussen. Theperspective is contemporary in its examples and its connections tothe evolving science of perception. An established seminar topic in theory classes around the world,poetics tends to rely heavily on classic philosophic texts —until now. Practical Poetics in Architecture brings theorydown to earth to show architects how to invoke poetics whendesigning real projects. Integrate poetics principles into real-world designs Consider atmosphere in terms of form, space, and acoustics Study actual projects that bring poetics into real spaces Take cues from analytical diagrams of projects accounting forcontext Poetics — the accumulated experience of place, space, andculture — has become more critical in recent years as theatmospheric and experiential qualities of built spaces have becomemore elusive in the virtual age. Practical Poetics inArchitecture provides real guidance for real projects, andbrings poetics out of the mind and onto the plans.

Can architecture directly engage with the inner experience of people? Does it have universal or spiritual content? Poetics in Architecture attempts to address these questions by looking at the essence of meaning of architecture and considering the human response to buildings. Schaik's concern is that by focusing on technical refinements and new procedural models architects are in danger of alienating the collective human connections we make with buildings. This title brings together the views of a fascinating and diverse group of architects and theoreticians from all over the world including Bolles-Wilson, Boyarsky Wilson, Winka Dubbledam, Sean Godsell, Mark Goulthorpe of dECOI and Tom Kovac.

For most of the twentieth century, modernist viewers dismissed the architectural ornament of Louis H. Sullivan (1856-1924) and the majority of his theoretical writings as emotional outbursts of an outmoded romanticism. In this study, Lauren Weingarden reveals Sullivan's eloquent articulation of nineteenth-century romantic practices - literary, linguistic, aesthetic, spiritual, and nationalistic - and thus rescues Sullivan and his legacy from the narrow role imposed on him as a pioneer of twentieth-century modernism. Using three interpretive models, discourse theory, poststructural semiotic analysis, and a pragmatic concept of sign-functions, she restores the integrity of Sullivan's artistic choices and his historical position as a culminating figure within nineteenth-century romanticism. By giving equal weight to Louis Sullivan's writings and designs, Weingarden shows how he translated both Ruskin's tenets of Gothic naturalism and Whitman's poetry of the American landscape into elemental structural forms and organic ornamentation. Viewed as a site where various romantic discourses converged, Sullivan's oeuvre demands a cross-disciplinary exploration of each discursive practice, and its "rules of accumulation, exclusion, reactivation." The overarching theme of this study is the interrogation and restitution of those Foucauldian rules that enabled Sullivan to articulate architecture as a pictorial mode of landscape art, which he considered co-equal with the spiritual and didactic functions of landscape poetry.

OASE 96 examines the remarkable revival of architectural practices that focus on reuse and appropriation of buildings, environments and materials. To what extent can and will designers engage in this process, and what is the possible positive or negative social impact of these interventions? This issue focuses on case studies, practical experience, critical reflection and ideas that show how architects and urban planners proactively deploy reuse in view of future user opportunities and/or applications. Between the faith in the autonomy of architecture on the one hand and design that centres on the user on the other lies a whole range of practices that address the traditional separation between design and use in a radical way. In this issue, the contrast between design and use is not perceived as an issue that needs to be resolved, but as a productive area of tension within which architecture is created.

This book investigates the relationship architecture has with the underground. It provides a broad ranging historical and theoretical survey of, and critical reflection on, ideas pertaining to the creation and occupation of underground space. It overturns the classic dictates of construction on the surface and through numerous examples explores recoveries of existing voids, excavations, caves, quarries, grottos and burrows. The exploitation of land, especially in areas of particular value, has given rise to the need to reformulate the usual approach to building. If the development of urban sprawl, its infrastructure and its networks, generates increasingly compromised landscapes, what are the possible strategies to transform, expand and change the usual relationship between abuse of soil and unused subsoil? Psychological, philosophical, literary and cinematographic legacies of underground architecture are mixed with the compositional, typological and constructive expedients, to produce a rich, diverse and compelling argument for these spaces. As such, the book will appeal to architecture students, scholars and academics as well as those with an interest in literary theory, cinema and cultural studies.

Tectonics is an old, ontological concept which simultaneously claims to cover the aesthetics/meaning and the technological/technical in architecture. However, since the advent of ‘modernity’, the relationship between architecture and building technology has been problematic. Some of these problems, which are reflected in the theories of architecture and tectonics, relate to the separation of the technology/technical dimension from the aesthetic/artistic, rendering one of them dominant over the other. This book explores the tectonic affects in architecture because these do not separate building technology and aesthetics or meaning. Affects are preconscious aesthetic feelings which can cause meanings if we start thinking about these affects. The book claims that tectonic affects can generate aesthetic value and meaning. It adopts a practical position towards architectural aesthetics and meaning, and concentrates on tectonic affects.