At Ohio State University, Mack Scogin Merrill Elam's new KNOWLTON HALL brings the design process to the larger academic community.

Not only was the Knowlton School of Architecture a building which is one to remember in architectural history but also was a huge leap for the next generation of architects in this part of the USA. As stated in the text ‘the importance of this event cannot be overstated.’ The university was given a ‘state of the art’ building which would not only help the university gain a high profile but also to inspire the work of the students that were to study here in the years to come. Although the project was a very ambitious one, being costly and complex in its design, the outcome of the project was pretty spectacular.

Although familiar with the building, I did not know that the initial design was not used and that the architects had to go back to the drawing board to make sure that the structure would be able to last a lot longer. This was not only to do with the design but the budget they had been given was not sufficient to provide for the school. Along with very generous donations, the school managed to raise enough money to fund the build.

From studying in a beautiful building myself, I am aware of the impact that this building would have on the students. To have true inspiration, there is no better way than being surrounded by stunning architecture. It was particularly interesting to see how the architects had to think about the function of the building predominantly.

I found that it was easy to relate to this to my work in Interior Architecture as the site itself is also a huge part of designing a building. Without a site and context is it very difficult to understand the project completely and produce something that is relevant to the client’s needs. This is something I will be taking further with me through my design studio work.

Building and exhibition layout: Sainsbury Wing compared with Castelvecchio - Kali Tzortzi

Personally, this reading has been one of my favourites. Not only have we covered museum space and how to move around a gallery in two projects in university but I have a strong interest in it myself. Exploring how people move around a space is something that can be explored in great depth. When entering museums or galleries in the past I have always been someone to look at the art work, having studied Fine Art at A Level, it has always been something that has interested me. However, after studying Interior Architecture at university, I now have a completely different approach when entering the space; it’s not so much the artwork I look at but the building itself. I look at how the art is places in such a way that the viewer moves in a certain way. After tonnes of research within my studio work, I feel like a have a clearer understanding of how to create a gallery or museum space within a building/outer shell.

Within the text, two of my favourite museums are spoken about, the Tate Modern and the Tate Britain. Two prime examples (especially the Tate Modern) of exhibition spaces that are constantly changing within a building that does not. It was interesting to see all the floor plans of both museums and how the author spoke about moving through the space. It was fascinating to compare these museums to others, and see how the space inside each building had been used differently. It was also of interest to see how the art work itself had been displayed in order to emphasise the work that is being displayed within the museum.

I felt that I learnt a lot from the article. Although studying gallery and museum spaces in great detail in first and second year, it’s safe to say there is a lot more that goes into the thought process of creating a museum space, in a way that displays the work appropriately and also allows the public to flow through the space perhaps chronologically if that is the way the artist intended.

On Concrete Materiality in Architecture - Ute Poerschke

Once again, we look at materials used within architecture, here the text is looking at concrete and how it is used within architecture. Concrete has always been one of my favourable materials when designing a building. I like the way it looks, feels and how it changes in temperature due to its surroundings. The roughness of it makes architectural structures have a raw and stripped back effect. I believe that in the construction of a building a large amount of its appearance can go down to its materials and without the right ones, a whole building can completely change. After studying materials thoroughly in Technical Studies (one of the modules for Interior Architecture) it is interesting to see how these materials are used within architecture, why they are used and their sustainability. I strongly believe however, that materials should be used in order to fit in with their surroundings. Again, going back to Frank Lloyd Wright’s ‘organic’ approach in the way he works, and making sure that the architecture does not look out of place.

The text moves on to speak about Gottfriend Semper, who said that materials should appear in their natural form.

“Brick should appear as brick, wood and wood, iron as iron”

It is interesting to see how much this has changed over time, and materials are being developed every day to improve construction as a whole and also to make them more aesthetically pleasing. I like the idea however, that raw materials are used and left untouched. It gives the idea that they have come naturally, which is something I appreciate within architecture.

My feelings towards the text vary; I strongly stand by the fact that materials should be left untouched if possible. In my work, I like using raw and natural materials, rather than ones that have been coated or covered in paint. I believe that although sometimes, these coatings might be needed, sometimes it is completely unnecessary and can ruin the finish of some projects, the architecture should speak for itself.

Félix Candela. In memorian (1910-1997). From thin concrete shells to the 21st century’s lightweight structures

This style of architecture is something that I have a strong interest in. I love Candela’s use of curves and reinforced concrete, almost creating a shell as a structure. This style of architecture is very pleasing to the eye. You find yourself flowing around the curves, taking in every aspect of the architecture. This piece of text talks about and celebrates the work of Candela. Overall, I think this is a fantastic article as for people that do not understand fully the work of Candela can truly begin to understand the fundamentals that went behind his though process. Curved architecture is also something I haven’t explored greatly within my work at university as generally it is quite complex, however it is definitely something I wish to look into now, especially after knowing a lot more about Candela after reading this piece of text.

Initially the text looks at the International Association of Structural Shells, founded in 1959, which is still and accredited association today. This style of architecture using the shell structure very something very elegant and pleasing to the eye, however structurally, very difficult to produce. It showed many links with Modern Architecture, relating to the work of Mies van der Rohe greatly with the approach of ‘less is more’. The concept of the shell meant that the space did not have to be filled to make it beautiful, it was about the decoration anymore, it was about the architecture itself being the beauty of the building.

The text goes on to speak about how model making was a predominant method in creating the shell structure. I felt like I could strongly relate this to my work as I use model making a lot of the time to get across ideas and concepts. On a previous project also, I used the idea of having an outer shell to create an inflatable space. It was interesting to compare this to the work of Candela. The work of Candela went through some changes over the years in order to make his structures applicable to building regulations at the time. I found it interesting to see how he had to adapt his work and how he managed to keep the same concepts throughout his designs. Over time, his designs became more slender following the work of a structural engineer, Eduardo Torroja, such as the Zarzuela Hippodrome.

After reading this text I can now truly appreciate how much time and thought must go into the shell structure concept and how there is so much technicality behind each design. It’s not just a matter of designing a building, but seeing if structurally it will stand up and meet building requirements. I would now like to use this style of architecture in my work more often, maybe experiment more with curves in the future.

The diversity of timber in Alvar Aalto's architecture: forests, shelter and safety - Teija Isohauta

I was interesting to look into the materials that go into making the building itself. Timber has always been one of my favourite materials in architectural design. I love the natural look of it, especially in modern architecture. I also didn’t know that 78% of Finland is covered by forest. I like the idea that the local architects use the resources that are at hand. Not only is the wood used for housing, but also a use for food and clothes. It was nice to see how resourceful the people of Finland are with their surroundings as the text continues to speak about how many materials can be produced from the forest. It is also clear within this piece of text, the love that Aalto has for natural supplied materials, which is clearly shown within his architecture.

Moving on to classic tradition, the text moves on to speak about the history of Finland’s architecture in the 17^th century most predominately being churches. It was interesting to see the real fundamental influences behind his work and how he had these influences from such a young age. His first few designs included copious amounts of timber, refurbishing old churches and making them beautiful again. I found I could definitely relate to this, not only can there be links made between this and the work I am currently studying at university, as we have been made to come up with plans for refurbished buildings, but it is also an interest of mine outside of the curriculum. With shows such as the ‘Restoration Man’ on channel four, which I have a bit of a passion for, I felt like this was of great interest to me, and also seeing how restorations were done in the past as opposed to the present.

I could compare the idea of organic form, which was a strong influence in Aalto’s work, to the work of Frank Lloyd Wright. Wright similarly used this idea of ‘organic form’ making the architecture sit in with nature without it looking out of place. This is also something I take into great consideration when doing a project, making sure the building itself does not look out of place and that it fits in with its natural surroundings, perhaps even enhancing them. I also like the idea that Aalto uses organic products, timber in this instance. He makes his work not only physically fit in with the surroundings but the aesthetics work within the area.

Overall, I found this an interesting read. It was good to look at an architect from this part of the world, as generally in modern architecture, Scandinavian design is one of my favourite styles. Today, in this part of the world, architecture is so new and upcoming, architects are creating work that breaks the mould and there is also a higher demand for it here than anywhere else.

The Brits who Built the Modern World

The work of all the architects within the show were people that I have always shown an interest in. I am proud to say I am British considering many of the greatest architects in the world today are British and are the pioneers for modern architecture as we know it today. Nicholas Grimshaw, one of my favourite architects and the mind behind one of my favourite projects ‘The Eden Project’ is a prime example of one of our countries greatest architects. His work is like no other in his daring and out of the box approaches which has shaped the architectural world today.

Architecture has changed predominantly over the last 10 years, design has almost gone back to front in the way it is presented with pipes on the exterior and suspended roofs, something which would not have even been thought about in previous years. I’m sure in the future, it will no doubt keep changing, but architecture today is at its absolute peek, not necessarily looking at practicality but beautiful design.

The group of architects whom were born in the 1930’s are said to be ‘the most successful generation of architects Britain has ever produced.’ Foster, Rodgers, Grimshaw and Michael Hopkins were definitely said to be ahead of their time. Producing work that no one had ever seen before, taking post-modernism to a new high.

It is clear, just by looking at their work that they have shaped the future of architecture, being the greatest architects of our time, it is now only a matter of years to see how they have shaped the mind of the younger architects this country is waiting for.

Architecture and Transgression: An Interview with Bernard Tschumi - Jonathan Mosley, Rachel Sara

Most definitely one of my favourite reads. I felt the text was laid out in a very clear way, making it easy to understand and to read. I am also a fan of the artwork throughout the article. It makes it stand and different from other pieces I have read, making it more abstract. Tschumi’s concepts and ideas I found I could relate closely too. He takes a completely different spin on how to look architecture, and the fundamental thoughts that go behind the way he thinks. Being a huge fan of Le Corbusier, it was interesting to see the links between his work and Corbusier’s, seeing what he had taken from his work and how he had used it within his own.

Predominantly I found the section on Tschumi’s idea of ‘Ropes and Rules’ fascinating. No one has ever referred to architecture as potentially being something sexual, and felt with all the senses. It was interesting to see how this came into play, but also showed his sheer passion for what he does and his love for architecture.

‘Just as eroticism means a double pleasure that involves both mental constructs and sensuality, the resolution of the architectural paradox calls for architectural concepts and, at the same instant, the immediate experience of space.’

Tschumi had a strong interest in the Tower of David, which also proved to be a catalyst for many of his later works. Again he refers to the building as being erotic in a sense, or at least to him. It is interesting how so many people have come and gone through the building, each using it for very different purposes. The way it is situated within the city is also fascinating, how it is positioned within the city, again, Tschumi describes it as ‘erotic’ and states that he does not think any other piece of architecture will be able to follow in its footsteps.

The article was inspiring, it was amazing to see how someone can have such a strong passion for what they do and the fundamental reasons as to why they are doing it.

Radical Post-Modernism and Content: Charles Jencks and Rem Koolhaas Debate the Issue

It was interesting to have a different style of text; I found it generally easier to relate to as they were having a conversation. It meant the text was split up therefore easier to read, and easier to take in. The debate between the two is about the Venice Biennale, Reviving Surrealism. The questions being asked does put Koolhaas in an uneasy situation, he challenges him with difficult arguments. They speak about post modernism. Described as the ‘future of the past’ by Jencks. The Venice Biennale is a contemporary exhibition in Venice which the International Architecture exhibition began in 1980. The debate speaks about this year, which is of great interest to Jencks and Koolhaas. The exhibition also featured the work of Koolhaas himself who is speaking within this debate.

The ‘future of the past’ saying is something that does not fit with Koolhaas at all. He argues back to Jencks saying that it was very difficult to design a facade, and this being something he focused on predominantly through the whole of his career. He has a large interest with the interior space which is now something he has shown greatly through his work since.  There are not many points when both people agree within this argument. They have very conflicting opinions.

As the debate continues it is mentioned that Koolhaas has a negative link with ‘iconic’ architecture. Which again, is something that Jencks strongly does not agree with; Koolhaas is saying he does not like the architecture which followed the second world war. Although it is not something that Koolhaas enjoys, Jencks argues that it is still part of the past even though if it is not relevant in the present.

The text was hard to follow at some point as both were very dismissive with each other, it would jump from each of them very quickly, which made the text slightly more difficult to read.  However, the content of the text was very interesting, and it was good to see how passionate both people are about their own opinions, something that I know I also am.

Pruitt-Igoe, Now - Nora Wendl, The Unmentioned Modern Landscape

I found this an interesting read. The content of the text wasn’t too overwhelming so made it easier to read than some of the other readings. It was interesting to learn about how it would have been like in the time of Pruitt and Igoe and also the new plans that are to be implemented after the demolition that took place after all these years. The whole concept of the complex being knocked down is pretty disheartening. I imagine one standing in the area where the architecture was once built it would feel quit eerie and unsettling. I learnt quite a lot from this reading. In the sense of modern architecture that is.

People still move towards the land that has been left behind, however with the security there is now this is increasingly being stopped. If the site was tidied up and sorted out, perhaps something going in its place, it would really be quite beautiful. Still not forgetting what was there but putting something it its place maybe to represent it or to perhaps just completely erase it. The memories of the site will forever live on.

At the beginning of the article, stated at the very top of the page it is mentioned that when the site was detonated, it was the ‘death of modernism’. I wouldn’t say this was a true statement necessarily. People are still unable to move on from what was there as it just is the demolition site that has been left for people to see. A rather sad and depressing site if you ask me.

In my personal opinion, I believe that something needs to be left in the place of the demolished buildings. The town needs to move forward and not dwell on the past. Perhaps not replacing it completely but as said before, putting something in its place in order to not forget what was once there. Personally, brutalism and the style of the building that was once there is not to my personal taste, but if I put myself in the shoes of someone who had potentially grown up there, I have a very different opinion on the building as I’m sure some people have had some very beautiful memories, making the building special in its own way to many people.

Modernity, space and national representation at the Tokyo Olympics 1964

Following the Olympics in 1964, there was a great development in the urban parts of the city. I found it interesting hearing how much the Olympics had actually influenced the city into what it is today. The buildings that were added in the years leading up to the Olympics were the fabrication for the city itself. The intentions were to improve the city, modernising it from what it was before, showing off the city and country to the rest of the world. Architecture which had been used in the games was ‘tokens of modernity’. Many developments were made, especially in the bullet-train, which runs through Japan. In 1964, the focus was the capital, which now was very architecturally diverse compared to other cities at the time.

After the redevelopment, Japan began to hold major sports events, which previously were not approved as it was too commercialised. This was a way in which the countries popularity could be vastly improved. I could relate this to today with the Olympics as they are now. Each country that holds the Olympics sees it as a way of being able to show off their country to everyone else in the world.

The work that was created for the games themselves is of a very modern style, with the Deconstructivist movement coming into play in the late 20^th century, a post modern  movement which was held in an exhibition at the MoMA in 1988, was something of its time. Very rectilinear shapes were used, with different angles. It was more a type of art that architecture and the artists of this movement were trying something that had never been tried before. Zaha Hadid was someone that I could relate to this style of work as I felt a lot of the shapes used in the 1964 build was closely related to her work.

The gymnasium, which was built at the time, grabbed my interest the most. I felt like it was extremely ahead of its time and could have potentially been built today. There could be links made with this style of architecture and the work of people such as Mies van der Rohe due to its very rectangular appearance.

Overall the reading wasn’t as interesting personally to be as some of the others have been. However I did find the style of architecture that was used in 1964 interesting, and I do feel like the architecture that was added to Japan in those years has shaped the country to what is it today.