A making based approach to tectonic architecture.by Francisco J. Gil

The goal of the following is to describe an approach to architecture design, based on making by discussing certain ideas about architecture tectonics and construction. Moreover, the creation and use of systems of parts that come together in a commonsensical way to form expressions of tectonic architecture. Also, to discuss the possibilities of inventive uses of said systems in an attempt to give expression to the architecture, therefore making the individual elements as well as the whole transcend their original function. In addition, it is also necessary to discuss the application of these systems into a design project, and to perform a dissection of the steps leading up to the final development of what in this case will be a pavilion. Finally, the following reflects on the outcome of the pavilion and depicts how it possesses the discussed tectonic ideas.

There are many different approaches towards architecture design. All different approaches are valid in their respective ways and all are crucial for a deep understanding of the design process. However, an approach based on the principles of making has deep roots in inventive expression and construction systems, thus it expresses tectonic construction more directly than any other. It is because of this, that the thorough understanding of an approach to architecture design based on making is crucial to the successful design of a tectonic architectural project.

To begin with, tectonics are defined as the science or art of assembling, shaping, or ornamenting materials in construction; the constructive arts in general. Therefore, developing commonsensical systems of construction and assembly while at the same time striving to be inventive is necessary for a successful outcome. These systems should possess a clear relationship between structure, materials and the reasons why they come together in the way that they do. Moreover, there should be an inventive intent in the conception of the whole as well as in the individual parts that make it up, and there should be an inventive intent in the way that they are assembled. This inventiveness allows parts, materials and therefore the whole to transcend their original, commonly known abilities to become a new exciting composition while still maintaining all the original and logical qualities that they would normally possess. In addition, there should also be invention that gives expression to the part while at the same time puts it at the service of architecture. A prime example of this concept of inventiveness can be seen in the scoop shaped shading panels on the roof of Renzo Piano’s building for the Menil Foundation in Houston Texas (right). These panels give expression to the roof and to the space and they provide a sense of lightness, while at the same time putting themselves at the service of architecture by fulfilling their most basic function of providing shade to the space.

Next, developing a system of primary, secondary and tertiary provides a way for all the elements of the construction to come together as parts and work with each other to create a whole both at the level of the single system and at the level of the three combined systems. The type of materials used is very important and the way that they combine with each other is even

more critical. Materials have limitations that allow them and prevent them from doing certain things and behaving in certain ways, however the combination of two weak materials may create

a strong composite which now allows for new possibilities of construction. The system of primary, secondary, tertiary should be clear and should clearly reveal to the viewer exactly how everything is integrated and how everything is supported within the arrangement of parts. Once again this concept of primary, secondary, tertiary construction is exemplified by Renzo Piano’s Jean-Marie Tjibaou buildings in Noumea, New Caledonia (left). Here, Renzo Piano has created a series of shells that are entirely constructed using the primary, secondary, tertiary system. The shells have as a primary structure a series of U-shaped wooden column elements, that span vertically in a circular manner, and are attached to the ground with hinge joints.

Next, the secondary elements consist of a number of bars that brace the columns to each other and with the help of their circular arrangement prevent them from falling over. And finally, the tertiary elements are a group of louvered, wooden panels that hang from the secondary bars and provide the shells with a translucent skin. In this project the perfect, commonsensical and inventive manner in which the elements are used is unquestionable. All the pieces work together and reinforce each other to create the whole and in the process express form, structure, function and construction which is the ultimate goal of a tectonic architecture.

Having said that, the design of a building brings issues to the table apart from the pure making of it that complicate the design process and must be solved. These are things like site, enclosure, scale, circulation, etc. Although, some or all of these issues are always present the advantage of designing a pavilion is that by nature a pavilion is a building with a very simple program where the design can be concentrated on the making and the tectonic composition of it instead of using architecture to solve all of the above mentioned issues. Now, designing a pavilion focusing almost exclusively on the tectonic construction of it requires a certain amount of exploratory exercises about the subject to provide the designer with the proper knowhow and level of understanding to achieve a successful outcome.

Initially, precedent studies are tools that in many ways give direction and provide a general template in order to help keep a degree of focus on the design of the pavilion. In this

case, looking at the basic tectonic elements of the nineteenth century, German architect Gottfried Semper provides a set of guidelines that help bridge the gap between the conceptual and the real world. Semper’s four elements are earthwork which is refers to the building’s placement on the site; hearth which is the ability of the place to have livable human quality; framework/roof which describes essentially to the structural elements that provide the skeleton for the space; and enclosing membrane which addresses the issue of enclosure and skin. Keeping these four elements in mind when materializing the ideas for the pavilion helps realize a logical project and interesting project.

In addition, the use of generators can be very helpful in the early stages of the design development as a tool to kick-start the thought process, but must eventually be let go in order to prevent the idea from becoming imprisoned by the limitations of the generator itself. Generators aid the designer by expressing their essential qualities of form, expression and construction which may then be taken and adapted architecturally to arrive at an idea that can be further developed. Furthermore, generators facilitate the process of invention because of their non architectural nature. They are items that are not made with any sort of architectural thinking, therefore they are free of the confines of architectural solutions. The selection process of said generators is very important because they should posses the potential to provide ideas that are in accordance with the subject at hand which in this case is the development of architecture through the process of making and tectonics.

The process of using generators is one where ideas are very much raw and unclear and one that requires a certain degree of trial and error. At times, one generator is not enough by itself, but through the combination of several; either simultaneously or throughout a period of time one can manage to extrapolate important architectural information. Now, since we are discussing tectonic architecture and the ideas of making and construction it is crucial to make physical models. Physical models are a means through which the discoveries about systems of primaries, secondaries and tertiaries can be materialized and explored further until a clear understanding is reached that leads to the beginning of a project.

At this point, the idea obtained from the generator exercise can be kept or discarded with regards to its application on the design of the pavilion. The important thing is in many cases not the idea itself but the lessons learned throughout its conception. The lessons learned about primary, secondary and tertiary which now have to become the pavilion and not merely diagrammatic models. Now, the following questions must be asked. What is the primary

structure? How does it work together with the secondary? And how does the secondary work with the tertiary? What materials make up the parts? How do these systems create the enclosure? Is there a degree of invention? How do the Semper’s elements come into effect? Using the pavilion in the following pages as an example one can see how the tectonic ideas discussed have come together to create a pavilion.

First, there is a self supporting cage of thick, steel structure that acts as the clear primary for the pavilion. Then, this primary cage supports a glass box that hangs within it and creates the enclosed space for the pavilion. The glass box is made up of a secondary steel cage and the tertiary panels of glass that it holds. This interior, glass cage is attached to the primary structure and also holds additional tertiary elements such as the aluminum panels that make up the floor and the roof. Meanwhile, on the exterior lies another secondary system of rails that support a tertiary skin necessary for the shading of the interior glass box. Moreover, the skin itself consists of a steel diaphragm which holds perforated steel panels that come together as parts to form the whole. Additionally, there is yet another secondary group of boxes made up of steel ribs and aluminum panels that are held by the primary. These boxes put themselves at the service of the pavilion by acting as skylights, windows and the entrance gateway.

The important thing to realize about this pavilion is that all the elements are at the service of the whole. Without any of these parts or systems that make it up the pavilion would not be complete or it would not make sense. All the parts have a role and are necessary for the success of the whole.

In conclusion, an approach to architecture design based on making is crucial to the successful design of a tectonic architectural project. The development of systems of construction is very much a part of making at all levels. These systems, when combined with an inventive representations provide an expression for the architectural pieces and enrich the composition. Finally, The exploration of this making based approach through the design of a pavilion and all the steps leading up to it is a valid and important exercise towards developing a thorough understanding of tectonic architecture.