RAPPEL A L’ORDRE: THE CASE FOR THE TECTONIC
Kenneth Frampton’s ‘Rappel a L’Ordre: The Case for the Tectonic’ identifies the issues in relation to the tectonic form, his intention is to make architecture step apart of just being part of a scenographic interpretation. The word tectonic is addressed from its different origins but overall referring to carpentry and its evolution into an aspect of poetry and art of construction. Tectonic objects are seen in two different forms; one being ontological which involves the nature of being and its existence and the other the representational that is the representation of elements, Semper (referred thought in many occasions by Frampton to conceptualize his ideas) made a difference between this two forms dividing them into structural-technical and structural-symbolic. Semper also distinguished the built form and categorise it into Tectonics of the frame (wood and its textual equivalents) and Stereotomics of the compressive mass (brick, stone, rock, concrete). Once again Semper is presented showing his ‘four elements of architecture’; the hearth, earthwork, framework and the enclosing membrane. The fist one being the only non spatial element with spiritual assets. Moreover Frampton analyses Botticher’s concept of tectonics and identifies the the Kernform (nucleus) and the Kunstform (decorative cladding), the last one having the capability of “revealing the inner essence of the tectonic nucleus”. Frampton implies that people tend to be unaware of the ontological consequences of each of the materials, stating that every material symbolizes different things and evoke experiences, therefore through tectonics many buildings can be discussed and find a meaning of its existence. The environment is also presented as being part of the essence for architectural invention, the context of the site has to be identified and the design has to work in relation to it. Frampton suggest that tectonic cannot only concern on...
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