TECTONICS

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

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Table of contents

Table of contents 2

Introduction 3

The history of tectonics 4

Antiquity 4

Renaissance 4

Tectonics in modern time 6

Müller 6

Bötticher 6

Semper 6

Heidegger 7

Sekler 8

Gregotti 8

Frampton 8

Comparison 9

Jørn Utzon, National Assembly Building, Kuwait 10

Socio cultural aspect 10

Purpose 10

Construction 11

Materials 13

Idea and aesthetics 13

Summary 14

Discussion 15

A tectonic experiment 15

Tectonics, my defi nition 17

Literature 18

Pictures 18

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IntroductionThis essay contains a historical description of the concept of tectonics. Diff erent theorists’ views on the matter will be examined, compared and discussed, leading to some funda-mental issues of tectonics. The National Assembly Building in Kuwait by Jørn Utzon will be analyzed as a case study in rela-tion to this topic. All this ends with a discussion on the matter of tectonics and the use of it in designing architecture, includ-ing an experiment on tectonic structures without an outer context.

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The history of tectonicsAntiquityThe word tectonic originates from Greek, where ‘Tekton’ was a building master or a constructor, and ‘techne’ means tech-nology or the art of making. The Greek defi nition of tectonics is: theory of the inner structure of a work of art and the shap-ing and joining of form elements to a unity [Wraber, lecture, 10/9-08].

The Greek philosopher and student of Plato’s Academy, Aris-totle, who wrote on most subjects of his time, is the fi rst per-son to be associated with tectonics, though he did not really write on the matter. He defi ned the ‘four causes of nature’: the material, formal, effi cient and fi nal cause. The material cause describes the material of which something is com-posed. Thus the material cause of a chair can be wood. Formal cause is concept or idea, the effi cient cause the craftsman or the crafting in itself and the fi nal cause is defi ned as purpose or the end of something, thus descent writing being the fi nal cause of a pen [http://en.wikipedia.org/wiki/Aristotle]. Aristo-tle believed the four causes of nature to apply to everything, and in architecture the causes can be translated to the materi-als, the architect’s idea or form, the constructor or construc-tion 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 archi-tecture 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: fi rmitas, utilitas and venustas, which is durability/strength, utility and beauty. Firmitas, in Vitruvius’ defi nition, relates to both construction, statics, materials and the rela-tions between these, and Vitruvius accentuates the impor-tance of using materials according to their natural properties [Wraber, lecture, 10/9-08] [http://en.wikipedia.org/wiki/Vitru-vius]. 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 con-struction 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].

RenaissanceIn the renaissance the matters of tectonics was brought up again in the search for the essence of architecture. The renais-sance writer, architect and theorist Leone Battista Alberti proposes in his book “De re aedifi catoria” from 1452 that the essence of a building is structure and the building’s lineament. The lineament is defi ned as the conceptual idea, the building’s distinctive shape or character, and it is independent of struc-ture and materials [Wraber, lecture, 10/9-08]. Alberti thereby separates aesthetics and construction, which is also seen in most renaissance architecture where deco-rations are a vital part of a building’s 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 dell’Architettura”, defi ning the beauty of architecture as the elaboration in relation to proportions and reason. This can be compared to Alberti’s 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 con-structional 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.

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Symmetry is very important for Palladio, as seen in his villas, not only for the aesthetic value, but as a result of logical rea-soning. 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 fl 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 diff erences in names, com-binations 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. 06: This shows the diff erences between how the four theorists consider the matters of materials, construction, purpose and idea or aesthetics in relation to tectonics.

Ill. 03: Santa Maria Novella, Florence, Alberti, 1470. Alberti uses orna-ment to give the building character and defi ne diff erent parts of the facade.

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

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

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Tectonics in modern timeWhen we deal with the matter of tectonics, it is simply be-cause architecture (including landscaping, industrial design etc.) is the only impure form of art. It is the only art form de-pending on the laws of nature, context, economics, technol-ogy etc. Therefore it is important to determine the relations between art and these more practical issues.

MüllerThe German scholar Karl Otfried Müller is the fi rst to clearly defi ne the word tectonic as a combination of the practical matters and art. In his “Handbuch der Archäologie 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” [Framp-ton, 1995, p. 4].

BötticherMüller’s defi nition of tectonic was further adapted by archi-tect, archeologist and art historian Karl Bötticher, who stud-ied 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 unifi es 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 Bötticher fundamental structure were always to be clear and detected through the covering. Ornament should never be allowed to obscure a building’s structure, but rather underline and emphasize the essence of the structure, if true tectonics were to be achieved [Frampton, 1995, p.4].

Bötticher suggests a third ontology of architecture – a combi-nation 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 fi rst on considerations of plan and structure, and then on the sym-bolism of structure in ornamental forms” [Schwarzer, 1993, p. 267].

SemperThe idea of tectonics was in 1851 provided with a socio cul-tural aspect by Gottfried Semper, German professor of ar-chitecture, with his “Die vier Elemente der Baukunst” (The four Elements of Architecture). He was the fi rst to truly take distance to Vitruvius’ trinity of utilitas, fi rmitas and venustas, as he added a specifi c anthropological dimension to tectonics. Based on an actual Caribbean hut Semper divided the primor-dial dwelling into earthwork, framework, hearth and screen wall - the fi 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 body’s soul, bones, muscles and skin.With focus on producing the elements of architecture, Sem-per also divided the building crafts into tectonics and stereot-omics (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 frame-work. 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 dif-ferently in diff erent cultures depending on the materials avail-able and the cultural standards.

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

Ill. 08: Semper’s Stoff wechseltheorie: new materials does not neces-sarily change the architectural and traditional symbolic value. Here traditional timber column-beam structure is transformed into stone construction.

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Ill. 09: Institute du Monde Arabe, Paris, Jean Nouvel, 1980. The Is-lamic ornament is transformed into electronic aluminum sun screens - a great example of Semper’s Stoff wechseltheorie. 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 Kahn’s 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 cantile-vered from the columns to allow sunlight in from above.

Semper’s socio cultural aspect is also seen in his Stoff wech-seltheorie, the theory of material change, in which he points out, that as a new material is added to a culture the architec-tural and traditional symbolic value is retained. This is perhaps most clearly shown in the Greek temples, where the tradition-al 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 ele-ments are central to the production and experience of archi-tecture (see ill. 09) [Wraber, lecture, 10/9-08].

HeideggerIn 1951 the German philosopher Martin Heidegger published his book “Bauen Wohnen Denken” (Building Dwelling Think-ing), 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 en-gineering construction, nor in terms of a mere combination of the two. The erecting of buildings would not be suitably defi ned even if we were to think of it in the sense of the original Greek techne as solely a letting-appear” [from Heidegger’s 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 mean-ing. Therefore, the tectonic responds to gravity by analogy rather than ‘effi ciency’. (…) 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 encom-passes 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 prog-ress. The architecture of Louis Kahn is an example of this as it re-states tradition with new materials and technology (see ill. 10).

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Ill. 11: Sekler’s theory: The abstract structure is realized by construc-tion 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.

SeklerEduard Sekler wrote the essay “Structure, Construction and Tectonics” in 1965, in which he defi nes the diff erence be-tween 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. Ac-cording to Sekler structure and construction were to be insep-arable, 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 archi-tect’s possibility to express himself artistically [Wraber, lec-ture, 10/9-08]. Mies van der Rohe’s many diff erent 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 inter-action 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 ar-tistically. This could originate from Bötticher’s idea about the ornaments that were never to obscure, but rather articulate, a building’s 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 fi rst in-stance, the ontologically tectonic, pin-jointed steel frames that run down Berlichingenstrasse, in the second the representation-ally atectonic corner bastions, of in situ concrete that, while supporting their own weight, pointedly fail to carry the oversail-ing cantilever of the roof” [Frampton, 1995, p. 21].

GregottiThe 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 Semper’s 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].

FramptonIn 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, tex-tures etc) before anything else. Frampton wanted to examine the main characteristics of architecture and the means to ar-ticulate 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 articula-tion of the details and joints that refl ect the transfer of loads. Like Sekler, Frampton states the clarity of structure, loads and supports as crucial. This should be immediately understand-able 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].

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Ill. 15: This fi gure shows the diff erences 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

ComparisonThe earliest theorists all worked with all or some of the sub-jects of material, aesthetics or idea, construction and purpose, which didn’t change with the theories of Müller and Bötticher. As something new Semper introduces the socio cultural as-pect to the theories of tectonics, which also Heidegger and Gregotti focus on along with the fi 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 es-sence of the architectural artifact (see ill. 15). Along with the matter of the joint comes the question of clar-ity. With these diff erent theorists there has been a movement away from ornamentation towards simpler and clearer archi-tecture. The Greeks and Romans used colors and sculptural ornaments, which continues through the renaissance and es-calates in the baroque. Bötticher 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 defi nition of atectonics Sekler clearly proposes an articula-tion 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 fi ve subjects: idea or aesthetics, construction, purpose, materials and the socio cultural aspect.

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

Ill. 13-14: Corner details of Mies van der Rohe’s 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 diff erently, but both tectonic nonetheless.

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Jørn Utzon, National Assembly Building, KuwaitTo examine the use of tectonics in architecture Jørn Utzon’s National Assembly Building in Kuwait, will be used as a single case study. The fi ve elements of architecture, derived from the fi rst part of this essay, aesthetics or idea, construction, purpose, material and the socio cultural aspect will be used to defi ne this piece of architecture’s 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. Offi ces are ar-ranged in modules along a central walkway, which ends in a monumental canopy (see ill. 16). All offi ces have open court-yards, and where no other natural light is led in the roof has half barrel vaults providing lights to corridors, library and caf-eteria [www.archnet.org].

Socio cultural aspectThe 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 site’s 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 monumen-tal 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 fi t the extremely warm climate in Kuwait. In general the building complex has simple inbuilt technical solutions to keep the temperature down, but with-out 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” [trans-lated from Louisiana Revy, 2004, p.6].

PurposeUtzon has organized the diff erent 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 diff erent requirements, and it also gives the possibil-ity to expand the building complex over time to fi 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 peo-ple who are going to use the building. The building must serve people’s 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. Ut-zon argues that: “every time you start a new building project, you have to imagine what will occur in this building and exam-ine 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 pow-erful and monumental, but approachable, and Utzon’s design is both (see ill. 16).

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

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.

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ConstructionThe National Assembly Building of Kuwait consists of a well-defi ned 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 semi-cylinders, 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 post-tensioning 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 construc-tively perfect and refl ect 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 diff erent scales. He argues that the ad-

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

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 Kuwait’s National Assembly Building.

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

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ditive building complex only exists of the necessary elements; it is a combination of a few diff erent 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 [Loui-siana 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 diff erent 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 diff erent sized beams, and all the diff erent 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 construc-tion 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 Børge 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. 23: Constructive principle of the beams over the central walkway in The National Assembly Building of Kuwait.

Ill. 22: The beams over the central walkway in Kuwait’s National Assembly Building. The construction form the striking “Chinese eyes”-pattern.

Ill. 21: Model of the semi-cylinder principle of the beams over the central walkway in Kuwait’s National Assembly Building. “The Chi-nese eyes” clearly shows.

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MaterialsKuwait’s National Assembly Building is constructed com-pletely in concrete, which is very well exploited. It is very im-portant to Utzon to use the right materials with the right type of construction: “You have to fi gure out what the materials we are working with can do. If you don’t understand this, you can-not 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 diff erent 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 con-crete 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 aestheticsUtzon has clearly searched for the true meaning of this spe-cifi c building at this specifi c site and strived through construc-tion 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 Kuwait’s National Assembly Building is the construction, materials and spatial fl ow be-tween 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 occu-pied, 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 mean-ing or a style to an architectural work: “Already there lies a basis for the building’s 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 fi gure out what it’s really about, to get the expression clear” [both quotes translated from Louisiana Revy, 2004, p.12].

Ill. 24: The joints of Kuwait’s 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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SummaryKuwait’s 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 architect’s idea has been downgraded for the constructional matters, but the architect’s idea is mostly based on the constructional matters, so this is defi nitely not the case. The structure is very clear and illustrates the way the forces run from roof to foundation, something Sekler would defi ne 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 Framp-ton deems a necessity. Both the purpose and the site is part of Utzon’s tectonic, like it is to Müller and Gregotti, but Utzon disagrees with Bötticher in relation to ornaments. Bötticher cannot imagine architecture without ornaments, and Utzon prefers to avoid it – but since Bötticher doesn’t want the con-struction to be obscured by ornaments, his and Utzon’s diff er-ences might be a result of 100 years of change in customs. As mentioned before the shape and construction method re-sults in a very good exploitation of the concrete, which econ-omizes 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 ev-erywhere in the building we fi nd “constructions that are visibly integrated in the architecture and which express the forces they bear and the functions they contain” [both quotes: Utzon Log-book vol. IV, 2008, p. 115].Utzon describes his own understanding of the nature of archi-tecture 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 mankind’s diff erent 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 Kuwait’s National Assembly Building. Architect Francoise Fromonot about Utzon’s use of tecton-ics: “Utzon has always sought correspondence between holistic morphology and modular organization. By integrating construc-tive sense in the plastic expression, he unites the structure and form, process and performance, rigor and fl 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 Kuwait’s National Assembly Building.

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DiscussionThe fi rst part of this essay let me to anticipate that fi ve diff er-ent matters had to be considered in order to obtain a truly tectonic architectural artifact. This made me search for these fi ve subjects in Utzon’s 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 architec-ture? If tectonics consists of the matters of materials, con-struction, purpose, idea and the socio cultural aspect, then can the consideration of these fi ve issues not be described as a tectonic approach? I believe so. But it does raise the ques-tion 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?

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

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 stabil-ity, but also depth and texture.

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

A tectonic experimentIn the extension of this an experiment of the tectonic ap-proach in a more abstract sense has been performed. The architectonic idea is to create an object where the construc-tion consists of a single simple element, but where the com-bination 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 sur-face gets a depth – it makes the structure stabile but it will at the same time give the fl at surface a texture and an extra di-mension (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

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to ensure that the single elements’ shape stands out clearly. Also the joints must not confl ict with the shape of the open-ings (see ill. 33). Since this object is not meant to be anything but a small sculp-ture 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 trans-lucent concrete could be used. In that case another joint solu-tion 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 inextri-cably linked and are actually a unifi ed concept. According to Bötticher’s defi nition of tectonics this is a tectonic sculpture, but perhaps Semper would disagree. Whether or not a pur-pose of beauty is enough for Vitruvius and Aristotle is hard to say, but nonetheless it is easy to see how diff erent the theo-ries of tectonics are in this case. The theories are all diff erent, but with similarities, and all of them has qualities. Therefore I think the best defi nition 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 pos-sible in order to let the simple geometry of the elements stand out.

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Tectonics, my defi nitionI 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 per-haps 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 fi 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 archi-tecture ought to be evaluated on more than just the joints. The matter of materials is in my opinion a part of both con-struction and aesthetics since the choice of materials is a large part of both stability, method of construction and colors, tex-ture and perception of light and surfaces. Though harder to defi ne one cannot reject the personal part of architecture and tectonic, the idea, concept and aesthetics. This is perhaps most clearly shown in how diff erent architects have diff erent, but equally well, solutions to the same prob-lem.

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 fi 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 fi ve matters of aesthetics, purpose, construction, materi-als and the socio cultural aspect all need to be considered, combined and connected to achieve a unifi ed 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 tec-tonic.

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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LiteratureBooks:Frampton: Kenneth Frampton, Studies in a Tectonic Culture: The Poetics of Construction in Nineteenthand Twentieth Century Architecture, MIT Press 1996, Cam-bridge Massachusetts

Louisiana Revy: Jørn Utzon – Arkitektens Univers, Louisiana Revy, 44. Årgang nr. 2, april 2004, ISBN 87-90029-91-7

Schwarzer: Mitchell Schwarzer: Ontology and Representation in Karl Botticher’s Theory of Tectonics, The Journal of the So-ciety of Architectural Historians, Vol. 52, No. 3 (Sep., 1993), pp. 267-280

Utzon Logbook vol. IV: Utzon Logbook vol. IV / Kuwait Na-tional Assembly, Prefab, Edition Bløndal, 2008, ISBN 978-87-91567-21-1

Lectures:Wraber: Ida Wraber, lecture “Studies in tectonic design”, 10/9-08, 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 Heidegger’s Building Dwelling Thinking, http://mysite.pratt.edu: http://mysite.pratt.edu/~arch543p/readings/Heide-gger.html

http://undertow.arch.gatech.edu: http://undertow.arch.gat-ech.edu/homepages/gt7267a/8223-2.html

All visited 12/10-08.

PicturesIll. 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/800px-Santa_Maria_Novella.jpg

Ill. 4: http://faculty.etsu.edu/kortumr/HUMT2320/highrenais-sance/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.fl ickr.com/1258/1414155190_8cb534438f_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.fl 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.fl 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/LibraryIm-agesBig/image/25438/0/IAA7533.JPG

Ill. 21: Own picture of model in cooperation with Maria Engsig Østergaard

Ill. 25: http://www.archnet.org/mediadownloader/LibraryIm-agesBig/image/25436/0/IAA7531.JPG

All visited 12/10-08.