A recreation of my final year essay for History and Theory - Issues in Contemporary Architecture.
Architectural spaces are present everywhere, and architecture is made by generating space. I propose, that despite architecture constantly evolving, the principles behind how architectural spaces are generated remain constant. This essay will analyse what creates these spaces and how.
Thinking about what generates architectural space is much like considering what makes a tree a tree. The tree can be understood through perceived qualities or universal truths. An artist or poet focuses on perceived qualities - meaning, appearance, style. Whilst a scientist analyses the anatomy. Beginning from a seed, the tree only grows when its environment is right. Soon appear stems, leaves, branches and trunk, whilst the roots are what obtain nutrients and also ground the structure as a whole. It is the roots that allow the tree to exist. Architecture has its own roots - the boundaries that cr...
How does one experience architecture without being present in the space? To understand the form of a building you look at models. To understand the function you look at sections. To understand its integrity you look at structure. Yet architecture is more than its combination of parts and functions. To understand it you need to experience the space. Without being there, that experience is conveyed through photography. The worlds first known photograph using a camera was of a building - the View from the Window at Le Gras by French scientist and inventor Joseph Nicéphore Niéce - and ever since then, photography has been the translator of architectural spaces.
When we photograph space we capture it in its three-dimensional, completed form. Drawings and visuals can be perceived to convey the same job, yet it is photography that manages to capture the essence of a space - and portrays feelings that a computer visual simply cannot.
However, architecture holds a rather complex relationship wi...
A slightly belated post but none the less here it is: I was awarded 1st place for the BauHouse 24hr International competition run by IdeasForward.
My project is entitled 'Inversehaus' - it flips the traditional Masters' house on its head, quite literally. I have inverted the solid walls to glass, and where there were windows there are now internal boxes spaces for living. The aim of the Bauhaus was to push the technological limits and materials at the time, so this new approach really takes that to the extreme and imagines what the Bauhaus could do today.The whole house keeps the original floor plan, so to keep the essence of the house as much in tact as possible.
I'd highly recommend doing a competition - they are a great way to push yourself and do something you wouldn't normally be able to or allowed to do at university on a traditional architecture course. Not all competitions require massive amounts of time and effort - this competition was only 24 hours long so...
Competitions - those things that you only understand if you are involved in an Architecture or design-related field of study/work. And yet for many, they seem unobtainable, and from that also a waste of time. But now, I am here to give my insight on competitions and why I think they are one of the best things about the design world.
Back in November I came across a company called ArchOutLoud. They are primarily based on their website - www.archoutloud.com - where they create new competitions based on current world problems that are not yet taken seriously enough by the mainstream media. Immediately I knew these competitions were what I wanted to get involved in - 'open-idea' competitions where world observations along with sensitive architecture combine. My course mate (Sung Lim) and I decided to enter the 'Borders' competitions - to design an underground bathhouse in the DMZ of North and South Korea.
I began watching online talks around the time I was applying for university. During that time I most definitely had watched and re-watched every single 'Architecture' related TED talk on the internet, in a desperate effort cram as much current knowledge about the field as I possibly could.
Now I am an avid watcher/listener/participator in such talks and over the years have come to acquire some of my favourites - so here is my list of talks to watch when you have a spare 20 minutes and want to use the internet for its benefits rather than its drawbacks (Facebook here's looking at you).
This lecture was one of the first I watched and still to this day it inspires me every time. Pawlyn's straight to the point but charmingly persuasive tone makes this seemingly inaccessible topic to the wider audience immediately make total sense.
Are architects necessary? Dubrofsky's 'Architecture without Architects' imposed this question onto my highly impressionable mind before I was corrupted by the world of architecture, now, 3 years on and reading this book with wiser (but definitely more tired) eyes I am even more perplexed by this question.
Bernard Dubrofsky wrote this book in 1964, mainly consisting of haunting black and white images of 'architecture' from around the world with explanations under each one. I use the word architecture here in quotations because these images all represent vernacular architecture in its purest sense. Architecture created by the people with an entirely form follows function approach even before Mies himself uttered the words thousands of years later. But this formal architecture that I describe of course isn't the sleek steel and glass orthogonal masterpieces that we all know and love (or love to hate perhaps). Here, vernacular architecture is praised and in its own right shows that even be...
During my semester abroad in Delft I took a Darkroom photography course. I had been wanting to do this for years and finally had the chance to take a class. I had tried once in school but the facilities were less than up to standard, now I had a whole fully stocked department to create prints of my own.
I loved being able to create photos in the way that film cameras intend for them to be created. It seems odd to use a film camera, but then to receive the images in a digital format where a machine develops and prints the photos for you. Its such a different result when every step was done by hand, without a processor making decisions for you. For that reason I love film photography, so I have written all I learnt below, but of course it isn't in as much depth for some parts, so refer to this ILFORD guide for further guidance.
Without realising it I’ve moved to the Dutch equivalent to Bath. It is the same scale, the same demographic, the same size of university and practically the same weather. On top of that, we have a Dutch equivalent to Bristol - Rotterdam - which is also only 15 minutes away by train and contains all of the things you miss here in Delft. In some ways these similarities are comforting, as being here it really doesn’t feel like I am in a different country at all - apart from the occasional conversation held in Dutch - I think I have settled in relatively well into this quaint town.
The course is something totally different to Bath - and so far I am really liking these differences. I am studying the minor ‘House of the Future’ which is divided into three units:
Form studies (7.5 credits)
Model studies (7.5 credits)
Design studies (15 credits)
All three of these units run simultaneously and at the beginning it was difficult to get my head around. They are all seemingly d...
Rafael Viñoly lecture at the Royal Academy of Arts, March 31st 2016
For many it would seem the perfect irony for Rafael Viñoly to be discussing what makes bad architecture and why. I'll start of with what most people, if not every current Londoner, wonder every day - how was the monstrosity know as the Walkie Talkie ever able to complete construction? According to Rafael himself - who referenced this very building as 'looking at it could literally kill you' - to have a multitude of origins.
The first is that of education - or the lack thereof. To complete an architectural education today one must be driven to achieve their best if they are to put themselves through that much debt and that much angst. Rafael mentioned how he decided to stop teaching because he wasn't allowed to fail students (apparently because of the ridiculous fees said students were paying) - perhaps a comment which wasn't fully serious, but within it there was some truth. There seems to be a reoccurring theme wit...
I began my journey with film photography in March 2015 when I finally got my hands on my mother's analogue camera she used when she was in University. I really didn't know anything about film photography - I just knew that I wanted to try it out. I had done one dark room photography class in school many years ago but I really didn't know what I was doing back then either! Now nearly 2 years on from taking my first photo I feel like I can pass on some advice about film photography, why you should do it and how to go about it.
I have a Zenit 11. It is a Soviet model produced from 1981 to 1990. It is an E-type and an SLR. An SLR is a single-lens reflex camera which means it uses a mirror and prism system so you can see exactly what the camera will capture through the viewfinder (twin reflex and rangefinder cameras don't necessarily show you accurately how the picture's composition will turn out). It is heavy (this is one thing you'll notice with film cameras - they are heavy!) and f...