{"id":2365,"date":"2016-11-14T14:54:13","date_gmt":"2016-11-14T06:54:13","guid":{"rendered":"http:\/\/thesis.arch.hku.hk\/2016\/?p=2365"},"modified":"2016-11-28T12:06:57","modified_gmt":"2016-11-28T04:06:57","slug":"the-identity-of-structure","status":"publish","type":"post","link":"http:\/\/thesis.arch.hku.hk\/2016\/the-identity-of-structure\/","title":{"rendered":"The Structural Identity of Living Space"},"content":{"rendered":"

Isolation of Living Space and Its Structure<\/strong><\/em><\/p>\n

Le Corbusier\u2019s invention of \u2018Domino System\u2019 marks the revolution of structure system from masonry structure to reinforced concrete frame structure. In his five points of architecture, Pilotis, which serve as the replacement of supporting walls consisted by a grid of reinforced concreted columns, is the basis of the new aesthetic. The organization of floor plan could be freely designed benefiting from the structural system, reflecting the free lifestyle at that time. The lifting ground floor plan, at the same time, shows the modern life with the intervention of cars. The structural system also enable the design of fa\u00e7ade free from structural constrains. \u00a0 \u00a0\u00a0\"06592519e8cdd675b1e1f2225e8c063d\"<\/a><\/p>\n

However, the position of structure has never been despised like today as the structural systems, for instance columns, are simply regarded as joints for partition walls or indication for openings on facades.<\/p>\n

In his articles “Lobotomy, Schism” and “Bigness”, Reem Koolhaas made the observation of the separation between the envelope and the content of the building, that “the facade no longer reveal what happens inside.” For him, the facade of the building has become a surface that “offers the city the apparent stability of an object”, while the interior being just the accumulation of unstable programs. The big buildings “can no longer be done by a single architectural gesture”, he claimed.<\/p>\n

As architect, do we really have to be so pathetic that the space (always program oriented), structure and the envelope become autonomous and have nothing to do with each other? The thesis aims to explore the possible relation between these elements of architecture, trying to find out the unique spatial quality based on their honest expression and cohesive relation.<\/p>\n

Learning from the East<\/em><\/strong><\/p>\n

Timber frame structure has been the dominant structural system in Asian for over 2000 years, which shares the similar load transmitting mode as the concrete frame structure. In Izumo Grand Shrine, although the eight peripheral columns could be clearly read from the plan, they actually become diminished in space due to their tightly integration with the timber panel envelope. The central pillar (kokoro no mihashira) serves not only as the geometrical center of the plan creating a circular path within the Shrine, but also as a symbol of figure as it is the only pillar that could be multi-facet perceived in the building. The layout of the pillars rationally reflects the load they are carrying through different dimensions, indicate the space sequence and in the end, spiritualizing the center of the shrine, which becomes the home of the god.<\/p>\n

\"1-100-scale-model-izumo-grand-shrine-izumo-taisha-construction-kit-337e995647b9df9a4374b26d6616f509\"<\/a><\/p>\n

\"shrine\"<\/a><\/p>\n

 <\/p>\n

Kitamura Residence is one of a typical Sukiya in Kyoto, which is consisted by a master living quarters, guest rooms, a shoin. The shoin has two verandas on its east and west, as it is surrounded by a pond and a series of wonderful gardens. The lifting floor plate and the dropped ceiling together create a space of great simplicity that drives people moving towards the peripheral and enjoy the nature. It is only at this moment when the structural elements (columns, beams, rafters) show themselves and perform as an entity invoking a dialog with the nature.<\/p>\n

\"kitamura-residence\"<\/a> \"kitamura-residence_plan\"<\/a><\/p>\n

When we take the work of modern Japanese architect Kazuno Shinohara, who used to be trying to translate the languages of traditional Japanese architecture into modern ones. His Tanikawa House show a completely different attitude from traditional Sukiya. The house locates in a small mountain in the suburban area of Tokyo and is used as a summer house of poet Tanikawa. The pitched roof, together with the vertical glass windows, seems to isolate the house from the nature. However, if we take a look at the inside of the building, the naked earth-ground and wooden branch pillars created an inner emptiness that indirectly interfering with the surrounding. The empty space reminds people of the traditional do-ma (earth place) in farmhouses, but the meaning of the space is absolutely different.\"tanikawa-house_plan\"<\/a> \"tanikawa-house_section\"<\/a><\/p>\n

House in Uehara represents a dramatic personification of \u2018gap\u2019 and \u2018nakedness\u2019. The house is structured by three pair of giant pillars with 45-degree brace supporting the beamless roof slab, but at the same time creating a dialog with the daily life of the owner. The facade also becomes autonomous, honestly expressing \u2018savagery\u2019 due to the inner conflict. The inner dialog becomes identical as the house appears quite unaggressive towards
\nthe chaos of Tokyo. \u00a0\u00a0
\n<\/a>\"uehara_section\"<\/a>\"Uehara\"<\/a><\/p>\n

 <\/p>\n

Project to test – A new Learning Centre<\/strong><\/em><\/p>\n

The world is becoming more and more homgeneous in terms of urban development. The central zones of cities like Hong Kong, New York and London are occupied by the same office towers and hybrid shopping malls. These kind of similarities reflect cultural broken. When we decipher these cities, their people and what they entail. It is a world of both\/and and such an amalgamation. When a new landmark is added into the amalgamation, the design intention is always seeking for a breakthrough in certain eras, but in the end turns out to be just another chessman following an invisible rule. A rule of ‘translucent’, with concrete slabs segmenting the space within a glass shell<\/p>\n

In this case, the thesis is exploring certain kind of non-referencial architecture, which is ‘invented’ and radically new. The invention here is mainly based on the autonomous of structural system, which is perhaps the most magnificent artifact we human beings make, The creation of a monolithic structure not only mediates with the activities happening inside of the building, but also show a radical and provovative attitude towards the context.<\/p>\n

The testing ground for the thesis is chosen in the campus of Tsinghua University, Beijing, where the college is experiencing a new round of expansion as it is striving to become international. A new mixed-use learning centre embracing multiple culture values is urgent in demand. This will create a new central hub for the campus, where people will meet to work and talk, to sit and relax, or merely while they are on their way to somewhere else. All the various activities that enliven the campus will intersect here. A comprehensive structure-based design method will offer great opportunity to contain all the program and multiple values.<\/p>\n

\"site\"<\/a><\/p>\n

 <\/p>\n

Testing Method<\/strong>
\nsolid-void
\nThe overall form of the building and the organization of the internal structure will be tested hand in hand. Solid-void models as well as
\nenvelope-internal structure model are preferrable means of examining the design.<\/p>\n

MASK-substance
\nLike what has been done in the model by Olgiati, the conflict\/transparency of the envelope\/internal structure relationship will be examined by separated models.<\/p>\n

BIBLIOGRAPHY<\/strong><\/p>\n

Valerio Olgiati, Luzern: Quart Verlag, 2010;
\nHerzog & de Meuron: Complete Works, Basel: Birkhauser,2005;
\nBearth & Deplazes, Constructs, Luzern: Quart Verlag, 2012;
\nInterview with Valerio Olgiati;
\n“Bigness”,”Lobotomy and Schism”, Rem Koolhaas;
\nKazuo Shinohara: Works, 2G Magazine;<\/p>\n

PRECEDENTS<\/strong><\/p>\n

House in Uehara, Kazuo Shinohara, 1975-1976
\nHouse on a Curved Road, Kazuo Shinohara, 1976-1978
\nEPFL Learning Centre, Valerio Olgiati, 2003<\/p>\n","protected":false},"excerpt":{"rendered":"

Isolation of Living Space and Its Structure Le Corbusier\u2019s invention of \u2018Domino System\u2019 marks the revolution of structure system from masonry structure to reinforced concrete frame structure. In his five points of architecture, Pilotis, which serve as the replacement of<\/p>\n","protected":false},"author":41,"featured_media":2370,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":[],"categories":[28],"tags":[519,485,486],"acf":[],"_links":{"self":[{"href":"http:\/\/thesis.arch.hku.hk\/2016\/wp-json\/wp\/v2\/posts\/2365"}],"collection":[{"href":"http:\/\/thesis.arch.hku.hk\/2016\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"http:\/\/thesis.arch.hku.hk\/2016\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"http:\/\/thesis.arch.hku.hk\/2016\/wp-json\/wp\/v2\/users\/41"}],"replies":[{"embeddable":true,"href":"http:\/\/thesis.arch.hku.hk\/2016\/wp-json\/wp\/v2\/comments?post=2365"}],"version-history":[{"count":4,"href":"http:\/\/thesis.arch.hku.hk\/2016\/wp-json\/wp\/v2\/posts\/2365\/revisions"}],"predecessor-version":[{"id":2752,"href":"http:\/\/thesis.arch.hku.hk\/2016\/wp-json\/wp\/v2\/posts\/2365\/revisions\/2752"}],"wp:featuredmedia":[{"embeddable":true,"href":"http:\/\/thesis.arch.hku.hk\/2016\/wp-json\/wp\/v2\/media\/2370"}],"wp:attachment":[{"href":"http:\/\/thesis.arch.hku.hk\/2016\/wp-json\/wp\/v2\/media?parent=2365"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"http:\/\/thesis.arch.hku.hk\/2016\/wp-json\/wp\/v2\/categories?post=2365"},{"taxonomy":"post_tag","embeddable":true,"href":"http:\/\/thesis.arch.hku.hk\/2016\/wp-json\/wp\/v2\/tags?post=2365"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}