TECTONICS

Rikke Wedege Srensen, 1st sem. MA ARCH., Aalborg Universitet, 2nd of September - 13th of October

Table of contents
Table of contents Introduction The history of tectonics Antiquity Renaissance Tectonics in modern time Mller Btticher Semper Heidegger Sekler Gregotti Frampton Comparison Jrn Utzon, National Assembly Building, Kuwait Socio cultural aspect Purpose Construction Materials Idea and aesthetics Summary Discussion A tectonic experiment Tectonics, my denition Literature Pictures 2 3 4 4 4 6 6 6 6 7 8 8 8 9 10 10 10 11 13 13 14 15 15 17 18 18

Introduction
This essay contains a historical description of the concept of tectonics. Dierent theorists views on the matter will be examined, compared and discussed, leading to some fundamental issues of tectonics. The National Assembly Building in Kuwait by Jrn Utzon will be analyzed as a case study in relation to this topic. All this ends with a discussion on the matter of tectonics and the use of it in designing architecture, including an experiment on tectonic structures without an outer context.

The history of tectonics

Antiquity The word tectonic originates from Greek, where Tekton was a building master or a constructor, and techne means technology or the art of making. The Greek denition of tectonics is: theory of the inner structure of a work of art and the shaping and joining of form elements to a unity [Wraber, lecture, 10/9-08]. The Greek philosopher and student of Platos Academy, Aristotle, who wrote on most subjects of his time, is the rst person to be associated with tectonics, though he did not really write on the matter. He dened the four causes of nature: the material, formal, ecient and nal cause. The material cause describes the material of which something is composed. Thus the material cause of a chair can be wood. Formal cause is concept or idea, the ecient cause the craftsman or the crafting in itself and the nal cause is dened as purpose or the end of something, thus descent writing being the nal cause of a pen [http://en.wikipedia.org/wiki/Aristotle]. Aristotle believed the four causes of nature to apply to everything, and in architecture the causes can be translated to the materials, the architects idea or form, the constructor or construction and the purpose. The earliest survived writing on the matter of architecture and tectonics is De Architectura by the roman writer, architect and military engineer Vitruvius. Vitruvius argues that architecture is only completed to perfection when nothing can be added nor taken away without devaluing the unity of the artifact. He introduces three requirements to ensure quality in architecture: rmitas, utilitas and venustas, which is durability/ strength, utility and beauty. Firmitas, in Vitruvius denition, relates to both construction, statics, materials and the relations between these, and Vitruvius accentuates the importance of using materials according to their natural properties [Wraber, lecture, 10/9-08] [http://en.wikipedia.org/wiki/Vitruvius]. By the introduction of these three requirements Vitru-

vius therefore unites the matters of construction and function with the matters of aesthetics, and the understanding of the word tectonic as a unity of these three matters is introduced. Among lots of other subjects Vitruvius wrote about the construction of aqueducts. The aqueduct Pont du Gard (see ill. 02) was constructed entirely without the use of mortar - every stone precisely cut and placed to use the stone material to the fullest. Pont du Gard stands today as an example of how a construction with a simple function can have a great amount of aesthetic value as well [http://en.wikipedia.org/wiki/Pont_ du_gard]. Renaissance In the renaissance the matters of tectonics was brought up again in the search for the essence of architecture. The renaissance writer, architect and theorist Leone Battista Alberti proposes in his book De re aedicatoria from 1452 that the essence of a building is structure and the buildings lineament. The lineament is dened as the conceptual idea, the buildings distinctive shape or character, and it is independent of structure and materials [Wraber, lecture, 10/9-08]. Alberti thereby separates aesthetics and construction, which is also seen in most renaissance architecture where decorations are a vital part of a buildings appearance [http:// en.wikipedia.org/wiki/Renaissance_architecture]. For Alberti ornament is not inherent, but a supplement that can be used to bring out the beauty of buildings (see ill. 03). In the renaissance the tendency towards the integration of science in art was also expanding. The Italian architect Andrea Palladio wrote his four books of architecture, Quattro Libri dellArchitettura, dening the beauty of architecture as the elaboration in relation to proportions and reason. This can be compared to Albertis lineament and structure, but Palladio speaks of the necessity of integrating science (reason) with art (proportions). He also speaks of the importance of techne in architecture, techne being the unity of purpose and constructional means [Wraber, lecture, 10/9-08].

Ill. 01: Temple of Hephaestus, Athens. The best preserved of the Greek temples. Constructed to last.

Ill. 02: Pont du Gard, France. The Roman aqueduct was constructed for its purpose, but it still brings aesthetic qualities to the area today.

Symmetry is very important for Palladio, as seen in his villas, not only for the aesthetic value, but as a result of logical reasoning. Most of his works is proportioned in relation to the symmetry and dimensions, he saw in nature and the human body (see ill. 04). According to Palladio windows were to be placed symmetrically on both sides of a house to let light and air through the building, also oor plans were to be arranged to spread the load of the roof evenly on the walls (see ill. 05) [Wraber, lecture, 10/9-08]. Palladio also designed his buildings with materials, which were both inexpensive and durable and chosen for its structural abilities. In generally one can argue, that Palladio was reaching for the simplicity and optimization, he saw in all aspects of nature. All of these views on architecture and tectonics deal with all or some of the four subjects; material, concept, construction and purpose (see ill. 06). There are dierences in names, combinations and most importantly relations between the four matters, but the basics are the same and modern day theories can all be traced back to these.

Ill. 03: Santa Maria Novella, Florence, Alberti, 1470. Alberti uses ornament to give the building character and dene dierent parts of the facade.

Ill. 04: Villa Capra (La Rotunda), Vicenza, Palladio, 1591. The clear symmetry and humane proportions dene this building.

Ill. 05: Villa Capra (La Rotunda), Vicenza, Palladio, 1591. The plan clearly shows how symmetry ensures even distribution of the loads.

Ill. 06: This shows the dierences between how the four theorists consider the matters of materials, construction, purpose and idea or aesthetics in relation to tectonics.

Tectonics in modern time

When we deal with the matter of tectonics, it is simply because architecture (including landscaping, industrial design etc.) is the only impure form of art. It is the only art form depending on the laws of nature, context, economics, technology etc. Therefore it is important to determine the relations between art and these more practical issues. Mller The German scholar Karl Otfried Mller is the rst to clearly dene the word tectonic as a combination of the practical matters and art. In his Handbuch der Archologie der Kunst (Handbook of the Archaeology of Art) from 1830 he applies the tectonic to all aspects of architecture: such as utensils, vases, dwellings and meeting places of men, which surely form and develop on the one hand due to their application and on the other due to their conformity to sentiments and notions of art. We call this string of mixed activities tectonic; their peak is architecture, which mostly through necessity rises high and can be a powerful representation of the deepest feelings [Frampton, 1995, p. 4]. Btticher Mllers denition of tectonic was further adapted by architect, archeologist and art historian Karl Btticher, who studied Greek and Gothic architecture, and in his Die Tektonik der Hellenen (The Tectonic of the Hellenes) from 1843-1852 he argues that tectonics is the elaborate system that unies all parts of a Greek temple, including the ornaments (see ill. 01). He collects the ontology of structure from Gothic and the representational ornaments from the Greeks, and based on that he divided architecture into Kernform (core form) and Kunstform (art form). According to Btticher fundamental structure were always to be clear and detected through the covering. Ornament should never be allowed to obscure a buildings structure, but rather underline and emphasize the essence of the structure, if true tectonics were to be achieved [Frampton, 1995, p.4].

Btticher suggests a third ontology of architecture a combination of the two into a new whole, a sort of synergy that will take architecture to a higher level [Wraber, lecture, 10/9-08], an integrated system of architectural expression, based rst on considerations of plan and structure, and then on the symbolism of structure in ornamental forms [Schwarzer, 1993, p. 267]. Semper The idea of tectonics was in 1851 provided with a socio cultural aspect by Gottfried Semper, German professor of architecture, with his Die vier Elemente der Baukunst (The four Elements of Architecture). He was the rst to truly take distance to Vitruvius trinity of utilitas, rmitas and venustas, as he added a specic anthropological dimension to tectonics. Based on an actual Caribbean hut Semper divided the primordial dwelling into earthwork, framework, hearth and screen wall - the rst two being technical (ontological) and the latter two symbolic (representational) [Frampton, 1995, p.4-5]. The hearth is a nonspatial element, linked to the earthwork. The framework and the enclosing membrane protect the hearth [http://undertow.arch.gatech.edu]. These four elements of a building could be related to the human bodys soul, bones, muscles and skin. With focus on producing the elements of architecture, Semper also divided the building crafts into tectonics and stereotomics (see ill. 07). Tectonics is the frame construction of linear lightweight components, and stereotomics is the earthwork of mass and volume. Stereotomics suggests a piling up of heavyweight elements like bricks, as the word is derived from Greek with stereos meaning solid and tomia meaning to cut [Frampton, 1995, p.5-7]. A further dimension is added to the tectonic in the transition from the earthwork to the framework. This transition according to Semper is done through the joint. The joint becomes the essence of architectural form [http://undertow.arch.gatech.edu]. The joint is executed differently in dierent cultures depending on the materials available and the cultural standards.

Ill. 07: Semper divides the building crafts into tectonics, which are lighter frame constructions, and stereotomics, heavier solid constructions.

Ill. 08: Sempers Stowechseltheorie: new materials does not necessarily change the architectural and traditional symbolic value. Here traditional timber column-beam structure is transformed into stone construction.

Sempers socio cultural aspect is also seen in his Stowechseltheorie, the theory of material change, in which he points out, that as a new material is added to a culture the architectural and traditional symbolic value is retained. This is perhaps most clearly shown in the Greek temples, where the traditional timber column-beam structure is transformed into stone (see ill. 08) [Frampton, 1995, p.5-6]. Though materials and tools are the fundamental factors in architecture, Semper argues that the climate, time, place and social, religious and political circumstances as well as the craftsman adding metaphoric character to the building elements are central to the production and experience of architecture (see ill. 09) [Wraber, lecture, 10/9-08].

Heidegger In 1951 the German philosopher Martin Heidegger published his book Bauen Wohnen Denken (Building Dwelling Thinking), in which he reinterpreted the understanding of techne with the concepts of tectonic and type: To the Greeks techne means neither art nor handicraft but rather: to make something appear, () the nature of the erecting buildings cannot be understood adequately in terms either of architecture or of engineering construction, nor in terms of a mere combination of the two. The erecting of buildings would not be suitably dened even if we were to think of it in the sense of the original Greek techne as solely a letting-appear [from Heideggers Building Dwelling Thinking, http://mysite.pratt.edu]. To Heidegger construction was simply a response to gravity. In the tectonic, constructional elements like the column, wall and beam surpass their structural rationality and reveal meaning. Therefore, the tectonic responds to gravity by analogy rather than eciency. () It can be inferred that between the structural utility of architectonic elements and their analogical representation, there is a void, so to speak, where the tectonic resides [http://www.fen-om.com, p. 3]. Tectonics encompasses type, a constructional form that remains permanent, a formal structure in which the knowledge of making an object meets the object itself; type represents a state of architectural understanding [http://www.fen-om.com, p. 3]. Type is what makes people instinctively know, that a house is a room for dwelling, and a pyramid is tomb. This concept of tectonic and type suggest an architecture that is neither new and abstract nor traditional and classical, it combines history with progress. The architecture of Louis Kahn is an example of this as it restates tradition with new materials and technology (see ill. 10).

Ill. 09: Institute du Monde Arabe, Paris, Jean Nouvel, 1980. The Islamic ornament is transformed into electronic aluminum sun screens - a great example of Sempers Stowechseltheorie. All details are carefully elaborated and the architect has considered place, climate, the materials abilities and the cultural and symbolic values.

Ill. 10: Kimbell Art Museum, Texas, Louis Kahn, 1972. One of Kahns best pieces. He mixes the materials according to their best abilities and works with creating the best spaces for their puprpose. I.e. the barrel vaults are not really barrel vaults, but only half vaults cantilevered from the columns to allow sunlight in from above.

Sekler Eduard Sekler wrote the essay Structure, Construction and Tectonics in 1965, in which he denes the dierence between structure and construction. Structure is the overall principle of building, an arrangement of parts that bears the loads. Construction is the concrete elaboration of the system and includes choices of materials and jointing methods. According to Sekler structure and construction were to be inseparable, and the tectonic emerge as a visual expression from these two (see ill. 11), from the joints and the rhythm of the elements with a result that cannot be completely accounted for by structure and construction alone. As the tectonic is independent of structure and construction, thus it is the architects possibility to express himself artistically [Wraber, lecture, 10/9-08]. Mies van der Rohes many dierent skyscraper corner details, all simple but not simplistic, probably serves as the best example of this (see ill. 13 and 14). Sekler also introduces the concept of atectonics: Atectonic is used here to describe a manner in which the expressive interaction of load and support in architecture is visually neglected or obscured [Frampton, 1995, p.20]. Thus Sekler speaks for clarity in architecture, and the tectonics seems to be about articulating and expressing the structure and construction artistically. This could originate from Bttichers idea about the ornaments that were never to obscure, but rather articulate, a buildings structure. Sekler uses Peter Behrens AEG turbine factory, Berlin, 1909 (see ill. 12) as an example: In this unique work, tectonic and atectonic patently coexist; in the rst instance, the ontologically tectonic, pin-jointed steel frames that run down Berlichingenstrasse, in the second the representationally atectonic corner bastions, of in situ concrete that, while supporting their own weight, pointedly fail to carry the oversailing cantilever of the roof [Frampton, 1995, p. 21].

Gregotti The Italian architect Vittorio Gregotti is perhaps the one, who most clearly expresses the importance of taking the context into account while dealing with architecture and tectonics. In 1983, with roots in Sempers argument of all the social aspects of the making of architecture, Gregotti states that: Before transforming a support into a column, a roof into a tympanum, before placing stone on stone, man placed the stone on the ground to recognize a site in the midst of an unknown universe: in order to take account of it and modify it [Frampton, 1995, p.8]. Frampton In 1995 Kenneth Frampton publishes his Studies in tectonic cultures, in which he examines the matter of tectonics. His work can to some extent be seen as a countermovement to the postmodernists, who put art (colors, compositions, textures etc) before anything else. Frampton wanted to examine the main characteristics of architecture and the means to articulate them. Frampton sees the concept of space as an abstract dimension of architecture, and he therefore divides it into three parts, which should melt together to become a poetic unity: the tactile, the tectonic and the telluric. The tactile is the sense of materials, tectonic the understanding of structure and telluric the laws of the earth. The tectonics is considered a method to express the true essence of a building, and it arises from the logics of construction, the clarity of structure and the articulation of the details and joints that reect the transfer of loads. Like Sekler, Frampton states the clarity of structure, loads and supports as crucial. This should be immediately understandable in architecture. To Frampton, as it was to Semper, the joint is the center of attention, because it contains both the tactile, the tectonic and the telluric [Wraber, lecture, 10/9-08].

Ill. 11: Seklers theory: The abstract structure is realized by construction and given its visual expression through tectonics.

Ill. 12: AEG Turbine Factory, Berlin, Peter Behrens, 1909. The steel frames clearly show loads and supports, but the concrete corners fail to carry the cantilevered roof.

Comparison The earliest theorists all worked with all or some of the subjects of material, aesthetics or idea, construction and purpose, which didnt change with the theories of Mller and Btticher. As something new Semper introduces the socio cultural aspect to the theories of tectonics, which also Heidegger and Gregotti focus on along with the rst four subjects, where as Sekler and Frampton return to primarily considering material, aesthetics and construction. But Semper and Frampton agree on the importance of the joint and how it expresses the essence of the architectural artifact (see ill. 15). Along with the matter of the joint comes the question of clarity. With these dierent theorists there has been a movement away from ornamentation towards simpler and clearer architecture. The Greeks and Romans used colors and sculptural ornaments, which continues through the renaissance and escalates in the baroque. Btticher stating that the ornaments were never to obscure but rather underline the structure was the beginning towards a more clear architecture. Heidegger argues that the true meaning ought to be visible, but with his denition of atectonics Sekler clearly proposes an articulation of the structure and construction. As a reaction to the postmodernists Frampton uncompromisingly states that structure, loads and supports are to be immediately clear and understandable in architecture. But in the end all the parts of the matter of tectonics can be divided into ve subjects: idea or aesthetics, construction, purpose, materials and the socio cultural aspect.

Ill. 13-14: Corner details of Mies van der Rohes 330 North Wabash, 1973 and Lake Shore Drive Apartments, 1948-51, Chicago, Illinois. Basically the same structural system, materials and construction method, but the joints are articulated dierently, but both tectonic nonetheless.

Ill. 15: This gure shows the dierences between how these six later theorists consider the matters of materials, construction, purpose, idea or aesthetics and the socio cultural aspect in relation to the

matter of tectonics. Gregotti is not represented here, since an undergoing examination of his works has not been attempted.

Jrn Utzon, National Assembly Building, Kuwait

To examine the use of tectonics in architecture Jrn Utzons National Assembly Building in Kuwait, will be used as a single case study. The ve elements of architecture, derived from the rst part of this essay, aesthetics or idea, construction, purpose, material and the socio cultural aspect will be used to dene this piece of architectures tectonic value, though they are inextricably linked together. The Assembly Building in Kuwait from 1985 is a two storey complex with a square plan based on a 5x5 m grid, and it can be expanded in three directions if necessary. Oces are arranged in modules along a central walkway, which ends in a monumental canopy (see ill. 16). All oces have open courtyards, and where no other natural light is led in the roof has half barrel vaults providing lights to corridors, library and cafeteria [www.archnet.org]. Socio cultural aspect The plan was created with inspiration from traditional Middle East villages, and the entire complex is closed around itself, the only exceptions being the canopy and main entrance (see ill. 18). All public functions are arranged near the entrance, and the canopy connects the building complex with the sea. By doing this Utzon considers the site; closes the building towards the surroundings except towards the public and the sea, which was the sites only attraction. At the same time, it is a Middle East tradition to have a protective shield on the outside and entrances as the most spectacular architectonic elements (see ill. 17). The canopy is very open and monumental and it provides shade to the public square beneath it. The shade serves as an important cultural element; this is literally where the politicians meet the public (an old tradition from the nomads in the Middle East) and the canopy represents this symbolically [Louisiana Revy, 2004, p.11+69-70]. The shade is also created to t the extremely warm climate in Kuwait. In general the building complex has simple inbuilt technical solutions to keep the temperature down, but without shutting the daylight out. I.e. the use of a heavy material like concrete means that the walls absorb the heat during the

day and release it at night. All through the design Utzon has considered the site with its special needs according to climate, traditions and symbolic representation. Utzon believes that: The partner is in a wide sense the site, () a partner that has to be considered [translated from Louisiana Revy, 2004, p.6]. Purpose Utzon has organized the dierent functions in the parliament to center along the walkway and spread out from this (see ill. 18). The grid system allows the creation of modules in various sizes for dierent requirements, and it also gives the possibility to expand the building complex over time to t new needs. All public areas are easily accessed and in general the design is created to give the optimum solutions for the people who have their daily routine here. The built has to serve the people who are going to use the building. The building must serve peoples well-being [translated from Louisiana Revy, 2004, p.6]. The plan is created according the purpose of the building, and the plan works as a generator for the rest of the design. Utzon argues that: every time you start a new building project, you have to imagine what will occur in this building and examine that [translated from Louisiana Revy, 2004, p.12]. Utzon has not only considered the practical matters of the purpose of the building, it was important to express what was inside the building in the exterior. The building had to be powerful and monumental, but approachable, and Utzons design is both (see ill. 16).

Ill. 16: The canopy of the National Assembly Building represents both power and accesability, and it has a clear construction and beauty as the evening light plays on the concrete surfaces.

Ill. 17: Utzon got his inspiration for the plan from traditional Persien villages. This is a small village outside Esfahan.

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Construction The National Assembly Building of Kuwait consists of a welldened but very interesting geometry generated simply from cylindrical shapes and plane surfaces. The complexity of the building comes from simple elements - there are no double curvature surfaces. The canopy of the building does not consist of traditional constructions but of post-tensioned concrete semi-cylinders that rest on rows of concrete columns shaped as hollow semicylinders, which narrows upwards, with a rectangular cross section (see ill. 20). This shape is perfect to take the pressure and the moment, and it clearly shows how the shape and not the amount of material takes the forces (see ill. 19). The posttensioning elegantly exploits all the concrete in the roof and reduces the risk of cracks from the shrinkage of the concrete, and the shape of the roof and the columns ensures that the weight of the roof elements is optimally distributed [Utzon

Logbook vol. IV, 2008, p. 114-115+124]. The thin economical concrete columns and the inclined roof exploits the material to the fullest and clearly illustrates the way the forces run from roof to foundation. Utzon describes them as A shape that makes you want to lean against it. The shape is simple. And incredibly strong [Utzon Logbook vol. IV, 2008, p. 124]. Another very interesting element is the roof beams of the central hall (see ill. 22). They consist of superimposed parts of semi-cylinders of the same diameter, one concave and two convex, cut with vertical planes intersecting at the center of the span and connected with vertical planes (see ill. 21 and 23) [Utzon Logbook vol. IV, 2008, p. 118]. The beams are constructively perfect and reect the tension and pressure zones of the construction. Both the beams, the roof elements and the columns were designed to be prefabricated. Utzon has worked a lot with additive elements, in dierent scales. He argues that the ad-

Ill. 18: The grid system, the central walkway, the protective shield and the connection to the water can easily be seen on the outside of Kuwaits National Assembly Building.

Ill. 19: The transverse section of the columns shows the semi-circular and rectangular shapes and their constructionally strong combination.

Ill. 20: The facade of the canopy shows how the columns bear the loads of the roof, widening downwards to take the increased forces.

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ditive building complex only exists of the necessary elements; it is a combination of a few dierent simple parts, which each gives the house a rhythm, and together they generate both complexity and homogeneity. The goal was endless variations with a limited number of elements and that the repetitive use of these elements unites design, form and construction [Louisiana Revy, 2004, p.10-11+76]. The additive principle makes prefabrication possible which is economical, but Utzon also argues in a more architectural way: This ensures building economy and the expressiveness automatically arising as the result of mass production and the many repeats of the small number of elements in dierent variations [Utzon Logbook vol. IV, 2008, p. 149]. For the National Assembly Building of Kuwait Utzon worked with spatial and constructive systems of repetition and growth and considered the methods of production from the beginning including the idea of prefabricated elements. The grid ensures that there is only need for i.e. few dierent sized beams, and all the dierent shaped elements are related for the ability to combine them quite freely. As a general rule, prefabricated elements have been used where repetition made it appropriate and concrete cast in situ where this was most rational [Utzon Logbook vol. IV, 2008, p. 148]. All this shows how Utzon works with construction in relation to both structure, aesthetics, economics etc. The architect Rafael Moneo, who studied under Utzon during the construction of the Sydney Opera House, explains it like this: The construction is always visible, but it never automatically causes the shape. The logic of the construction generates the shape [translated from Louisiana Revy, 2004, p.88]. In relation to the National Assembly Building of Kuwait architect Brge Nissen argues that: The combination of these simple shapes in the enormous columns provides maximum strength with a minimal use of materials while the architectonic power can be compared to that of the Egyptian temples [Utzon Logbook vol. IV, 2008, p. 122].

Ill. 21: Model of the semi-cylinder principle of the beams over the central walkway in Kuwaits National Assembly Building. The Chinese eyes clearly shows.

Ill. 22: The beams over the central walkway in Kuwaits National Assembly Building. The construction form the striking Chinese eyes-pattern.

Ill. 23: Constructive principle of the beams over the central walkway in The National Assembly Building of Kuwait.

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Materials Kuwaits National Assembly Building is constructed completely in concrete, which is very well exploited. It is very important to Utzon to use the right materials with the right type of construction: You have to gure out what the materials we are working with can do. If you dont understand this, you cannot use it to the maximum [translated from Louisiana Revy, 2004, p.6]. Concrete is the right material for the shapes of the building elements of the National Assembly Building, as well as the shapes are just right for this material. Utzon about the columns: they are armored very simply. But because they are curved, they are stabile. We exploit the ability of the concrete to let the shape make them stabile [Louisiana Revy, 2004, p.13]. The joints of the building are all very simple and all derives directly from the building components (see ill. 24). The shapes of the dierent additive concrete elements are clearly visible and not obscured in the joints, and it is obvious that it was intended to let both the materials and the joints stand out honestly in their humble naturalness and simplicity. Utzon lets the materials show what they are capable of; he believes that there is no such thing as a too cheap material, only something right or wrong. But he also chose the concrete for its architectural value, as he thought the texture and the color of the concrete, like sand, was just right for the National Assembly Building [Louisiana Revy, 2004, p.14]. In general both the materials and the joints are carefully chosen and articulated.

Idea and aesthetics Utzon has clearly searched for the true meaning of this specic building at this specic site and strived through construction and materials to achieve a space that enthralls visitors culturally and emotionally. The site has caused Utzon to work with not only the earlier mentioned socio cultural aspects, but also the meeting between land and sea the breaking of the waves. The huge canopy strives upwards almost like a wave of land towards the sea (see ill. 25). Utzon also created a more physical connection from the building to the water with both the view (see ill. 26) and the public space under the canopy. A great deal of the aesthetics of Kuwaits National Assembly Building is the construction, materials and spatial ow between the construction elements. Rafael Moneo explains: Utzon believes that geometry, as the construction lies upon, makes ornamentation redundant. There is always a texture in the surface of his buildings that constantly keeps our eyes occupied, while it unsuccessfully searches for the key to unlock the plot [translated from Louisiana Revy, 2004, p.89]. But since it is so important for the well-being of people, Utzon also works with light as an architectural material in relation to the construction. The curved surfaces of the parliament creates spaces in itself and gives the light free play: Small people passing huge columns experience the light coming in from above curling round the columns and giving rise to an internal sense of space of niches, of the weight of the building [Utzon Logbook vol. IV, 2008, p. 124]. To Utzon it is always a matter of the right choice rather than the stylish one. There is no point in having to add a meaning or a style to an architectural work: Already there lies a basis for the buildings expression and the architect can then show his talent for this. Instead of some form he just adds, that means nothing and in every assignment one has to gure out what its really about, to get the expression clear [both quotes translated from Louisiana Revy, 2004, p.12].

Ill. 24: The joints of Kuwaits National Assembly Building is very simple and clear and they articulate the way of the forces within the construction.

Ill. 25: The shape of the canopy form a wave on its way towards the water.

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Summary Kuwaits National Assembly Building was designed in relation to the socio cultural aspect, the purpose of the building and especially to the construction and materials. In this case one can argue that the architects idea has been downgraded for the constructional matters, but the architects idea is mostly based on the constructional matters, so this is denitely not the case. The structure is very clear and illustrates the way the forces run from roof to foundation, something Sekler would dene as tectonic. The design also contains a socio cultural aspect, which Semper points out to be important, and at the same time the joints are very simple and articulated, which Frampton deems a necessity. Both the purpose and the site is part of Utzons tectonic, like it is to Mller and Gregotti, but Utzon disagrees with Btticher in relation to ornaments. Btticher cannot imagine architecture without ornaments, and Utzon prefers to avoid it but since Btticher doesnt want the construction to be obscured by ornaments, his and Utzons dierences might be a result of 100 years of change in customs. As mentioned before the shape and construction method results in a very good exploitation of the concrete, which economizes the materials and clearly shows a use of the material according to its abilities, preferred by most of the theorists since Vitruvius. At the same time Utzon includes not only the human and cultural aspect, but also the aesthetics. Like the semi-cylindrical columns They achieve strength through shape a shape that at the same time provides a visual lift, and everywhere in the building we nd constructions that are visibly integrated in the architecture and which express the forces they bear and the functions they contain [both quotes: Utzon Logbook vol. IV, 2008, p. 115]. Utzon describes his own understanding of the nature of architecture as a constant experimenting with spaces and shapes, empathy of the properties of materials, contact with the time we live in, but also insight into mankinds dierent forms of expression [translated from Louisiana Revy, 2004, p.71]. This clearly shows that Utzon considers all parts of the tectonics, which in my opinion is very well achieved in Kuwaits National Assembly Building. Architect Francoise Fromonot about Utzons use of tectonics: Utzon has always sought correspondence between holistic morphology and modular organization. By integrating constructive sense in the plastic expression, he unites the structure and form, process and performance, rigor and exibility, conceptual will and simple means of a constantly renewed total synthesis [translated from Louisiana Revy, 2004, p.83].

Ill. 26: Sketch of view to the sea from the central walkway through the canopy at Kuwaits National Assembly Building.

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Discussion
The rst part of this essay let me to anticipate that ve dierent matters had to be considered in order to obtain a truly tectonic architectural artifact. This made me search for these ve subjects in Utzons design for The National Assembly Building in Kuwait. Utzon has clearly considered all of these matters in his design, which is probably what has given this work its high architectural value. It is complete. But can tectonics be more than just something to strive to obtain can it be seen as a method of working with architecture? If tectonics consists of the matters of materials, construction, purpose, idea and the socio cultural aspect, then can the consideration of these ve issues not be described as a tectonic approach? I believe so. But it does raise the question of how to create i.e. a sculpture? Since a sculpture does not have a functional purpose. Or how to work with tectonics, if no site has been chosen?

A tectonic experiment In the extension of this an experiment of the tectonic approach in a more abstract sense has been performed. The architectonic idea is to create an object where the construction consists of a single simple element, but where the combination of more of these elements creates a surface with an interesting light and shadow relation. My solution is an element with two curved sides and two ends with a right angle (see ill. 27). When they are combined a wall of openings and closed surfaces is obtained (see ill. 28 and 29). With the elements put together in layers the surface gets a depth it makes the structure stabile but it will at the same time give the at surface a texture and an extra dimension (see ill. 30). The idea is that light behind the wall will give a patterned shadow, and with the white foam chosen as material the wall itself will get an interesting light (see ill. 31, 32 and 34). The joints must be as simple and clear as possible

Ill. 27: A single element consisting of both straight and curved sides.

Ill. 28: The combination of elements, all very simple and completely alike, results in a wall with a complex expression.

Ill. 29: Early sketch of the combination of elements. This surface is much more plain than the later one, and is not stabile either.

Ill. 30: The way the elements are put together gives the wall stability, but also depth and texture.

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to ensure that the single elements shape stands out clearly. Also the joints must not conict with the shape of the openings (see ill. 33). Since this object is not meant to be anything but a small sculpture the foam material is the best choice, because light can shine through it, but the material would not work if the model was to be made in a bigger scale. Perhaps some sort of translucent concrete could be used. In that case another joint solution would have to be found, as my simple pin solution would not work in concrete. So is this a tectonic approach and solution? Since the socio cultural aspect of tectonics in my opinion demands a context this could not be considered in this example, also the matter of purpose was reduced to obtaining some sort of aesthetic value. But the aesthetic idea and the construction are inextricably linked and are actually a unied concept. According to Bttichers denition of tectonics this is a tectonic sculpture, but perhaps Semper would disagree. Whether or not a purpose of beauty is enough for Vitruvius and Aristotle is hard to say, but nonetheless it is easy to see how dierent the theories of tectonics are in this case. The theories are all dierent, but with similarities, and all of them has qualities. Therefore I think the best denition of tectonics will be a combination of the best parts of all the theories.

Ill. 31: The basic idea is how light will shine through this wall.

Ill. 32: The wall creates an interesting patterned shadow.

Ill. 33: The details of the construction ought to be as simple as possible in order to let the simple geometry of the elements stand out.

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Tectonics, my denition I personally believe that true tectonics contains the aspect of socio culture, as Semper states it - sometimes simply as a part of the idea or aesthetics of the architect. This aspect is perhaps most pronounced among vernacular architects. At the same time I believe that both purpose and construction has to be a central part of the matter of tectonics, because both are crucial for those who are going to use the building and I believe both have to be easily perceivable. I nd the elaboration of joints important, but in my opinion there is a lot more to the matter of tectonics, and a tectonic piece of architecture ought to be evaluated on more than just the joints. The matter of materials is in my opinion a part of both construction and aesthetics since the choice of materials is a large part of both stability, method of construction and colors, texture and perception of light and surfaces. Though harder to dene one cannot reject the personal part of architecture and tectonic, the idea, concept and aesthetics. This is perhaps most clearly shown in how dierent architects have dierent, but equally well, solutions to the same problem.

One can argue whether or not materials and the socio cultural aspects are independent subjects or parts of the subjects of purpose, construction and aesthetics, but I believe without a doubt that all ve matters ought to be considered and easily perceivable in a truly tectonic architectural artifact. In general tectonics refers to the interrelations between construction method, materials chosen, the basic idea, the context and purpose of a building. I would say that tectonic means the joining of form elements to form an architectural synthesis, but in order achieve a tectonic expression one can have a tectonic approach to architecture. The ve matters of aesthetics, purpose, construction, materials and the socio cultural aspect all need to be considered, combined and connected to achieve a unied expression. At same time I believe materials ought to be used according to their properties, both constructional and aesthetically, and both construction, purpose and aesthetic idea must be quite easily understood, before an architectural artifact is truly tectonic.

Ill. 34: The behind the wall partly shines throuh the wall, which gives not only the shadow, but also the wall itself a very interesting expression.

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Literature
Books: Frampton: Kenneth Frampton, Studies in a Tectonic Culture: The Poetics of Construction in Nineteenth and Twentieth Century Architecture, MIT Press 1996, Cambridge Massachusetts Louisiana Revy: Jrn Utzon Arkitektens Univers, Louisiana Revy, 44. rgang nr. 2, april 2004, ISBN 87-90029-91-7 Schwarzer: Mitchell Schwarzer: Ontology and Representation in Karl Bottichers Theory of Tectonics, The Journal of the Society of Architectural Historians, Vol. 52, No. 3 (Sep., 1993), pp. 267-280 Utzon Logbook vol. IV: Utzon Logbook vol. IV / Kuwait National Assembly, Prefab, Edition Blndal, 2008, ISBN 978-8791567-21-1 Lectures: Wraber: Ida Wraber, lecture Studies in tectonic design, 10/908, Aalborg Web: http://www.archnet.org: http://www.archnet.org/library/sites/ one-site.jsp?site_id=490 http://en.wikipedia.org/wiki/Aristotle http://en.wikipedia.org/wiki/Pont_du_gard http://en.wikipedia.org/wiki/Renaissance_architecture http://en.wikipedia.org/wiki/Vitruvius http://www.fen-om.com: http://www.fen-om.com/theory/ theory162.pdf From Heideggers Building Dwelling Thinking, http://mysite. pratt.edu: http://mysite.pratt.edu/~arch543p/readings/Heidegger.html http://undertow.arch.gatech.edu: http://undertow.arch.gatech.edu/homepages/gt7267a/8223-2.html All visited 12/10-08.

Pictures
Ill. 1: http://upload.wikimedia.org/wikipedia/commons/6/68/ Hephaistos_temple_2006.jpg Ill. 2: http://upload.wikimedia.org/wikipedia/commons/5/50/ Pont_Du_Gard_From_River.JPG Ill. 3: http://www.essential-architecture.com/STYLE/800pxSanta_Maria_Novella.jpg Ill. 4: http://faculty.etsu.edu/kortumr/HUMT2320/highrenaissance/adobejpgimages/20villarotundalarge.jpg Ill. 5: http://lh4.ggpht.com/_j4Z6OyB0V_I/R7tRchvuaMI/ AAAAAAAACb4/spT5lijmP4I/plan+villa+rotunda.jpg Ill. 6-8, 11, 15, 19, 26-34: Own sketches or photos Ill. 9: http://farm2.static.ickr.com/1258/1414155190_8cb53443 8f_o.jpg Ill. 10: http://upload.wikimedia.org/wikipedia/commons/7/75/ Kimbell_04.jpg Ill. 12: http://upload.wikimedia.org/wikipedia/commons/4/4a/ AEG_by_Peter_Behrens.jpg Ill. 13: http://farm2.static.ickr. com/1200/1007290516_662672f415.jpg?v=0 Ill. 14: http://www.ijdesign.org/ojs/public/journals/1/53/web/ Figure6.jpg Ill. 16: http://farm1.static.ickr. com/49/127029298_14cd2b024e_o.jpg Ill. 17, 20, 22-24: Utzon Logbook vol. IV, 2008, p. 19, 115, 119, 125, 127. Ill. 18: http://www.archnet.org/mediadownloader/LibraryImagesBig/image/25438/0/IAA7533.JPG Ill. 21: Own picture of model in cooperation with Maria Engsig stergaard Ill. 25: http://www.archnet.org/mediadownloader/LibraryImagesBig/image/25436/0/IAA7531.JPG All visited 12/10-08.

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