The bar was conceived as a neighborhood watering hole, a place where students, neighbors, and the after-work crowd get together to enjoy a good drink. The name, like the space itself, is meant to invite fantasy. The generously proportioned 80m2 space is modeled after a black box theater with the main focus on the ceiling plane rather than on an actual stage.
Mark Garcia, general editor: Helen Castle Architecture as pattern of continuously transforming components. Zaha Hadid Architects, Randers Art Museum Competition, London Patterns will be explored here in the narrow sense of designed patterns that spread across all sorts of surfaces, including architectural surfaces.
The human body was perhaps the first surface that received designed patterns. Architectural patterns thus have a broad and deep lineage. With such a widespread practice one should not expect a well-defined, unitary function. As practices evolve they acquire new functions and loose their prior functions, or new functions are superimposed upon older functions.
Patterns might serve purposes of decorative enhancement, feature accentuation, camouflaging, totemic identification, semiotic differentiation, or any combination of those. Papua facial ornamentation and Chinese Opera masks. Both the Papua facial treatments and the traditional Chinese opera masks work with the accentuating enhancement of facial features.
Both sets of enhancements serve as medium of distinction.
In the case of the Chinese opera masks there exists an elaborate system of typical characters. There are two general terms, from traditional architectural theory, that cover the domain of practices referred to here: In classical architectural theory decoration was the complimentary term of a fundamental distinction.
Distribution, construction, and decoration, as the three fundamental tasks of architectural design. Karl Friedrich Schinkel refers to it in his unfinished architectural treatise. The aspect of construction has been largely outsourced to the disciplines of building engineering.
Articulation is concerned with the subjective comprehension of the spatialized social order. Articulation cannot be dispensed with.
It involves the central core competency of architecture. What things look like matters! Only on the basis of articulate organizations will users be enabled to navigate, and collectively utilize the built environment to its fullest potential.
The reference problem for the task of articulation is orientation. Articulation should facilitate orientation by making the spatial organization, and the social order within it, legible.
Orientation also implies the steering of expectations about the social scenarios that might unfold within a space and about the conduct that is appropriate within the space. The distinction of articulation versus organization cannot be aligned with the distinction of form versus function.
The two distinctions intersect each other. Both organization and articulation have functional as well as formal aspects. Both organisational diagrammes and strategies of articulationneed to be selected on the basis of their social functionality, and both are dependent upon the availability of a pertinent formal repertoire.
Architectural patterns are a potent device for architectural articulation. Typical ornamental motifs are also used to distinguish typical functions.In it Adolf Loos excoriated the "Austrian ornamentalists", scourging in a vitriolic diatribe their predilection for decoration as a degenerate phenomenon from the standpoint of civilised man: "The evolution of culture is synonymous with removing decoration from utilitarian objects.".
Sanne Van Den Elzen - Today, Too, I Experienced Something I Hope To Understand In A Few Days. back to WRITINGS. Parametric Patterns Patrik Schumacher, London Published in: AD Architectural Design – Patterns of Architecture, Vol 79, No 6, November/December , guest editor: Mark Garcia, general editor: Helen Castle.
Architecture . Viennese Culture. The Secession, or breaking away, of young artists from official academies was a feature of fin de siecle art, especially in German-speaking countries.
At Munich in , Berlin in , and later at Dresden, Dusseldorf, Leipzig and also Weimar, young painters, sculptors and architects protested against the conservative stranglehold that their elders maintained on exhibitions. Loos argues that ornamentation is uncivilized and primitive, and would hinder the development of national culture.
However, ornamentation meant more than just decoration at that time, and the acceptable use of ornament, and its precise definition became the source of aesthetic controversy in academic Western architecture, as . Check out the links below to find read some of Adolf Loos' writings and to find out more about the unrealized design that could have changed the course of architecture history: The Long(ish) Read.