By A Peter Fawcett
Structure: layout computer specializes in the method of layout as pragmatic and non-theoretical. Dealing systematically with the middle layout curriculum, it truly demonstrates the talents required for designing at undergraduate point. supplying scholars with primary maxims of layout, and a framework during which they could strategy their paintings, this ebook helps undergraduates as they discover ways to produce strategies to layout demanding situations. This very important layout better half underpins the cornerstone of an architectural undergraduates' stories - studio layout tasks. With over a hundred sketches integrated, the booklet evokes student's layout principles.
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14 Frei Otto, Olympic Games Complex, Munich, 1972. From Dictionary of Architecture, St James Press, p. 243. 15) where decisions about structure determine the nature of external form but also as a direct outcome, the type of space enclosed. Furthermore, the nature of the external membranes of both examples allows a close correspondence with the structure whilst at the same time providing transparency or translucency for daylighting purposes. But such structural virtuosity, whilst a demonstration of skill admirably suited to an exhibition building where the primary need is for one large uncluttered and ﬂexible space, is hardly appropriate for more complex architectural programmes; in such situations, the designer re-engages with the notion of ‘type’.
31); clearly, such decisions concerning circulation within buildings not only affect the nature of principal internal spaces but in the case of a courtyard type, the nature of the courtyard itself. 28 James Stirling, Leicester Engineering Building, Leicester University, 1964, Second floor plan. From Architectural Review, 2/64, p. 66. 29 Linear plan, single/dual aspect. 30 ‘Race-track’ courtyard plan, dual aspect. 31 ‘Race-track’ courtyard plan, single aspect. 32). Unless the ‘architectural promenade’ is to be celebrated as a means of clarifying the building’s organisation (this will be discussed later), there will be pressure on the designer to minimise circulation routes.
Plan and structure At this stage in the exploration it is worth considering how plan and structure interact. 16 plan’. 17 Traditional house plan. 18 Harding and Tecton, ‘Six Pillars’, Dulwich, London, 1934. Ground floor. 19). 20), and this potential for ﬂexibility can allow the designer to ‘add’ or ‘subtract’ spaces from the primary structure without diluting its clarity. 19 Sir Norman Foster and Partners, School, Fre´jus, France, 1995. From Architectural Review 5/95, p. 64. 22 Harding and Tecton, ‘Six Pillars’ Dulwich, London, 1934.