Just about everything you've always wanted to know about tectonics but were afraid to ask
The notion of tectonics is not of exclusive use for architecture. There is no doubt that the greater public refers to this term as the theory based on the movement of the continental plates in the field of geology. In architecture, even if the term is increasingly evoked in books, magazines, website...
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Universidade de São Paulo. Faculdade de Arquitetura e Urbanismo.
2009
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Amaral, Izabel Just about everything you've always wanted to know about tectonics but were afraid to ask |
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Amaral, Izabel |
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Amaral, Izabel |
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Just about everything you've always wanted to know about tectonics but were afraid to ask |
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Just about everything you've always wanted to know about tectonics but were afraid to ask |
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Just about everything you've always wanted to know about tectonics but were afraid to ask |
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Just about everything you've always wanted to know about tectonics but were afraid to ask |
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Just about everything you've always wanted to know about tectonics but were afraid to ask |
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just about everything you've always wanted to know about tectonics but were afraid to ask |
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The notion of tectonics is not of exclusive use for architecture. There is no doubt that the greater public refers to this term as the theory based on the movement of the continental plates in the field of geology. In architecture, even if the term is increasingly evoked in books, magazines, websites, blogs, and architecture schools, defining tectonics has become even more difficult because its discontinuous presence throughout history has given the term multiple meanings. Frequently defined as the" art of construction", a better understanding of tectonics cannot ignore an understanding of the historical trajectory of the term. A derivative of the greek tekton (carpenter), the notion has more than two thousand years of history. Its understanding changed in relation to its greek origin, mainly due to the contributions of German theoreticians Carl Bötticher and Gottfried Semper in the 19th century, and more recently to the notable contribution of Kenneth Frampton (1983, 1990, 1995, 2005). Frampton renewed the debate on tectonics, promoting the notion to the statute of" expressive potential of construction", capable of congregate material, constructive, cultural, and aesthetic aspects. This paper will begin with a discussion of the evolution of the concept of tectonics, first by considering the emerging technical knowledge of building physics in the 18th century, and then by discussing the two last theoreticians (Semper and Frampton); it concludes by raising current perspectives regarding this notion. |
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Universidade de São Paulo. Faculdade de Arquitetura e Urbanismo. |
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2009 |
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https://www.revistas.usp.br/posfau/article/view/43644 |
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oai:revistas.usp.br:article-436442019-12-09T13:56:54Z Just about everything you've always wanted to know about tectonics but were afraid to ask Casi todo lo que deseabas saber sobre la tectónica, pero le daba pena preguntar Quase tudo que você queria saber sobre tectônica, mas tinha vergonha de perguntar Amaral, Izabel Tectônica técnica material expressão construtiva Gottfried Semper Kenneth Frampton Tectónica técnica material expresión constructiva Gottfried Semper Kenneth Frampton Technique material constructive expression Gottfried Semper Kenneth Frampton The notion of tectonics is not of exclusive use for architecture. There is no doubt that the greater public refers to this term as the theory based on the movement of the continental plates in the field of geology. In architecture, even if the term is increasingly evoked in books, magazines, websites, blogs, and architecture schools, defining tectonics has become even more difficult because its discontinuous presence throughout history has given the term multiple meanings. Frequently defined as the" art of construction", a better understanding of tectonics cannot ignore an understanding of the historical trajectory of the term. A derivative of the greek tekton (carpenter), the notion has more than two thousand years of history. Its understanding changed in relation to its greek origin, mainly due to the contributions of German theoreticians Carl Bötticher and Gottfried Semper in the 19th century, and more recently to the notable contribution of Kenneth Frampton (1983, 1990, 1995, 2005). Frampton renewed the debate on tectonics, promoting the notion to the statute of" expressive potential of construction", capable of congregate material, constructive, cultural, and aesthetic aspects. This paper will begin with a discussion of the evolution of the concept of tectonics, first by considering the emerging technical knowledge of building physics in the 18th century, and then by discussing the two last theoreticians (Semper and Frampton); it concludes by raising current perspectives regarding this notion. El término" tectónica" no es de uso exclusivo de la arquitectura. De hecho, es más conocido del gran público en relación a la teoría del movimiento de las placas continentales, en el dominio de la Geología. En arquitectura, aunque el término circule cada vez más en los libros, revistas, websites, blogs, y escuelas de arquitectura, no es facil definir tectónica, ya que, por su presencia discontinua a lo largo de la historia, se hace muy dificil asociarlo a un único significado. Frecuentemente definida como" el arte de la construcción", una mejor comprensión de la tectónica no puede prescindir de una mejor comprensión de la trayectoria histórica del término. Derivada del griego tekton (carpintero), la noción ha atravesado más de dos mil años de historia. Su sentido ha cambiado con respecto a su raíz griega, principalmente gracias a los aportes de los teóricos alemanes Carl Bötticher y Gottfried Semper, en el siglo 19, y más recientemente debido a la notable contribución de Kenneth Frampton (1983, 1990, 1995, 2005). Este último ha provocado una renovación del debate sobre la tectónica, promoviendo el concepto a sinónimo de" potencial de expresión constructiva" de la arquitectura, capaz de integrar los aspectos materiales y constructivos a los aspectos culturales y estéticos. Para entender la evolución del concepto de tectónica, este texto se propone, en primer lugar, a trazar su historia, que comenzaría con una conciencia técnica de la física de la construcción, aún en el siglo 18, para luego discutir los dos últimos teóricos antes mencionados y, al fin, presentar algunas de las nuevas perspectivas sobre la actualidad de esa noción. O termo tectônica não é de uso exclusivo da arquitetura. Sem dúvida, é mais conhecido do grande público em referência à teoria que estuda o movimento das placas continentais no domínio da geologia. Em arquitetura, mesmo que o termo circule cada vez mais nos livros, revistas, websites, blogs e escolas de arquitetura, definir tectônica é tanto mais difícil na medida em que, dada sua presença descontínua ao longo da história, esse termo dificilmente pode ser associado a um único significado. Freqüentemente definida como" arte da construção", uma melhor compreensão da tectônica não pode passar ao lado de uma melhor compreensão da trajetória histórica do termo. Derivada do grego tekton (carpinteiro), a noção atravessou mais de 2000 anos de história. Sua compreensão mudou em relação ao original grego, principalmente devido às contribuições dos teóricos alemães Carl Bötticher e Gottfried Semper no século 19, e, mais recentemente, devido à notável contribuição de Kenneth Frampton (1983, 1990, 1995, 2005). Este último autor provocou uma renovação do debate sobre a tectônica, promovendo a noção ao estatuto de" potencial de expressão construtiva" da arquitetura, capaz de reunir aspectos materiais e construtivos aos aspectos culturais e estéticos. Para entendermos a evolução do conceito de tectônica, este texto se propõe, em um primeiro momento, a traçar sua história, que começaria com uma consciência técnica da física da construção ainda no século 18, para, em seguida, discutir os dois últimos teóricos acima citados e, por fim, levantar algumas das novas perspectivas sobre a atualidade dessa noção. Universidade de São Paulo. Faculdade de Arquitetura e Urbanismo. 2009-12-01 info:eu-repo/semantics/article info:eu-repo/semantics/publishedVersion application/pdf https://www.revistas.usp.br/posfau/article/view/43644 10.11606/issn.2317-2762.v0i26p148-167 Pós. Revista do Programa de Pós-Graduação em Arquitetura e Urbanismo da FAUUSP; n. 26 (2009); 148-167 Pós. Revista do Programa de Pós-Graduação em Arquitetura e Urbanismo da FAUUSP; No. 26 (2009); 148-167 Pós. Revista do Programa de Pós-Graduação em Arquitetura e Urbanismo da FAUUSP; Núm. 26 (2009); 148-167 2317-2762 1518-9554 por https://www.revistas.usp.br/posfau/article/view/43644/47266 Copyright (c) 2009 Izabel Amaral |