booklet on tectonics

Vernacular tectonic mechanism of protection by tightly stacking bundles of straws forming the sloped roof structure
2
Cover Image

Anshul Rathore
3
THINKING
TECTONICS
Architecture is understood as being the responsive result to the requirements
of its surroundings: the environment and the specific social conditions shape
architecture in a particular manner.
The knowledge gained in this exploration helps to develop a tectonic way of
thinking as an awareness to take the appropriate construction decisions as
an answer to specific requirements, with the ultimate objective of achieving
an architecture which is an alliance between design and construction.

Anshul Rathore
4
Hochschule Luzern
Lucerne University of Applied Science and Arts
Engineering and Architecture
BA Architecture - Theory Module
HS17
Core Module Tectonics
Student:
Lecturer:
Natalie Plagaro Cowee,
dipl. Architect ETSAM, SIA, Herrliberg ZH, Switzerland
Assistant:
Florian Schweizer
dipl. Arch ETH, Bern, Switzerland

53
35
Guidance
Movement
Protection
Protection
Safety
Safety
Support
Support
Balance
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07
5
I. About Tectonics
II. Vernacular Tectonic Mechanisms
II.01 Tectonics of Support
II.02 Tectonics of
II.03 Tectonics of
II.04 Tectonics of
II.05 Tectonics of
II.06 Tectonics of
II.07 Tectonics of
II.08 Tectonics of
II.09 Tectonics of
II.10 Tectonics of
III. Tectonic Mechanisms of the 20th century
IV. The Tectonic Detail
XX List of figures
XX Bibliography

8
ONE abstract image, illustrating
your definition of tectonics, without
being directly rooted in architecture.
i.e. Painting, sculpture, landscape,
music, film-still, photography,
crafts, nature, etc.
Black and white, high-quality image.
THEN DELETE THIS TEXT.
(The caption of the image is at the
bottom of the following page.)

9
I.
About
Tectonics
Figure 1
Spinning top, a toy designed to spin rapidly on the ground,the motion of which causes it to remain precisely balanced on
its tip because of its rotational inertia which is enhanced due to its shape and form, thus both its structure and motion
facilitates its functionality.
Tectonics is an indication of not just
skillful knowledge of materials but also
of the creative process of producing,
manufacturing and processing the same
material to imbue it with meaning that
reaches beyond the mundane and into
the artistic realm.
Pursuing this art creates an appearance
resonating with the sensibilities and
the meaningness of the person that
perceives it. With this rises the
question of how the materialistic
characteristics can develop immaterial
expressions along with serving its basic
functionality.
Accurate descriptions of functionalist
sensibilities - such that the human is
understood as a component of the
machine are aptly given by Le Corbusier(1923)
with the notion that a house is “a
machine for living in” and that “one can be
proud of having a house as serviceable as a
typewriter”(cited in Etchells, 2014, p.10, p.241).

Spinning top, the grooves on its surface are incorporated intentionally so that rope could be binded to the surface
and would be set in motion by aid of this rope coiled around its axis which, when pulled quickly causes a rapid unwinding
that would set the top in motion.
02
11
I. About Tectonics
Figure
But along with functionality one has to
consider the perceptions of people towards
the same material. Jonathan Hill (2006)
argued that “to accommodate evolving
conceptions of the individual and society,
architecture must engage the material
and the immaterial, the static and
the fluid, the solid and the porous”
(cited in Etchells, 2014, p.135).
Architecture accommodate and build these
perceptions by giving importance to the
detail of putting the materials together.
Peter Zumthor seems to argue along
similar lines when saying that “details
express what the basic idea of the design
requires at the relevant point in the object;
belonging or separation, tension or
lightness, friction, solidity, fragility”
(cited in Ford, 2011, p.177).

13
II.
Vernacular
Tectonic
Mechanisms

15
Tectonics
of Support
Tension
Figure 3
Roofing of house supported by rafters and tension ties
The image depicts a traditional roofing
system which consists of a rafter, a strut, a
tie, a purlin and a console connected by a
hanger. The elements transfer load through
tension and compression within the structure.
The ends of the elements have been groomed
and they give rise to geometric patterns
hanging down from the ceiling. This is an act
of beautifying the elements.
Structurally, the angle of rafter prevents
water or snow accumulation.

17
The plates which are located near the ground
have been used to create a systematic
distinction between the log cabin and lower
frame of structure.
The gap also enhances the ventilation
between upper construction and foundation
of the building preventing moisture to travel
upward.
The stone-work gives a rugged appearance to
the overall structure of house. Placing of the stone
between the rudimentary woodwork has a
jarring, surprising effect.
Tectonics
of Balance
Stacking
Figure 4
Stones used to carry the vertical load and creating a ventilation gap

Tectonics
of Guidance
Consoling
Figure 5
Rafters along with branches consoling the water gutter
19
The box gutters are recessed troughs set in
the roof plane near the eaves which is used
to collect the water from the roofs.
These wooden gutters are supprted and held
by the branches which are connected with
the rafters supporting the roof.
The roof gives a natural appearance in the
landscape of vernacular architecture. Natural
forms have been used as ornamentation here.

21
Tectonics
of Movement
Hinging
Figure 6
Joinery of door to the Wooden frame facilitating movement
The construction consists of two different
materials, stone and wood. There’s a harmoni-
ous setting between the two materials which
consists of two joineries.
The first joinery of nail speaks of technical
construction and is linked to opening and
closing of the door. The second joinery of nail
is a decorative construction and can be found
on the entire door running horizontally. The
nails have been craftly honed to decorate the
door.

23
Tectonics
of Protection
Interlocking
Figure 7
Interlocking of wooden logs at the corner
The traditional wooden logs have been used
without any ornamentation or finishing. They
were easily available in the forests, and were
procured directly from trees.
It reflects a strong expression of primitive
forces. Its appearance is rough, yet it seems
to be very enduring. The wooden logs found
near the ground are stacked on top of each
other, and on the corners they are interlocked.
Through the butt and pass joinery,the logs are
interlocked with each other and held together.

25
Tectonics
of Protection
Stacking
Figure 8
Tightly stacked bundles of straws forming the sloped roof structure
The closely held bundles of straws on the
roof do not allow water or melted snow to
seep, and protects the interiors from harsh
climatic conditions prevailing.
The straws are first held together in separate
group of bundles for extra stability and then
stacked together and densely packed.
The close stacking of the straws enhances the
isolation of the roof as well as increases their
strength against vertical load. The roof looks
very fluffy and seems to have a uniform
compisition throughout the structure.

27
-
Tectonics
of Safety
Compression
Figure 9
Underground construction for storage of graineries and goods to provide stable temperature
The typical arrangement of stone slabs and earth
can be found in the roofs of typical storehouse
units, where grains and stock were stored.
The stone slab arch provides structural support
and skin to the roof, on top of which is a stone
slab which contributes to water proofing of the
interior. The earth on the top provides isolation.
The partially underground construction ensures a
stable temperature during different seasons
which is considered appropriate for storing and
preserving grains.The structure gives very primitive
vibes, with cladding of vegetation over it.

29
This wall is made by stacking logs on top of each
other. The forces of the roof beam seem to
ensure compression in exactly the right place,
minimising the warp occuring from the wood
drying and getting wet. The arrangement of
wooden logs can be seen in the roof of structure.
They keep the roof upright by transferring loads
from one point to the other.
The logs give an impression of continuity and
homogeneity on facade. The appearance might
be misleading, since the load is transferred from
point to point instead of continous vertical
transfer.
It can be assumed that the stacking has been
with an aim to insulate the interiors, and not just
provide minimal structural strength.
Tectonics
of Safety
Stacking
Figure 10
Wooden logs stacked together to form outer skin of the dwellings and to enhance the strength

The arrangement of connection of a tie with a
rafter using a wooden plug can be seen in the
roofing system of the structure. This tie connects
to the rafters which carry the load of the balcony.
This is possible if one cuts the head of the beam
too close to the tie.
Moreover, the logs have been placed at a sloping
angle to facilitate flow of water. The weathering
of logs is evident due to its exposure to harsh
climatic conditions.
Compared with other tie members, this structure
is less sophisticated in its appearance and has
lesser decorative elements on it.
31
Tectonics
of Support
Plugging
Figure 11
The plugging of two lateral ties ,one connecting with the rafter

The two wooden planks in horizontal plane
intersect with a wooden log in vertical plane.
The three logs are clamped together through
small wooden bars.
The wooden bars in horizontal plane which
join the three wooden logs together, are held
by smaller bars in vertical plane. The bars
have been carved out beautifully, and give
out a pleasing aesthetic vibes.
33
Tectonics
of Support
Clamping
Figure 12
The wooden logs clamped together at corner

35
III.
Tectonic
Mechanisms
of the
20th century

37
Structure
III.
Tectonics
and
Louis I Kahn, also known as ‘Architect of
Instituition’ was famous for his crude, direct,
archaic and solid style. He used to believe
in economical use of material and had
fascination with the hollow structures.
The distinct form of the Kimbell Museum's
cycloid barrel vaults are rimmed with narrow
plexiglass skylights, providing room for natural
light to penetrate into the spaces. To diffuse
this light, pierced-aluminum reflectors shaped
like wings hang below, illuminating the smooth
surfaces of the concrete vault while providing
elegant and enchanting light conditions for the
works of art.
Kahn used the element of natural light as the
main focus of the design, and created elegant
spaces that were perfectly suited for
the art that it houses.
Figure 13
Kimbell Museum's cycloid barrel vaults allowing natural light to penetrate into the spaces

Sunlight entering the dark corridors of IIM Ahmedabad creating an interplay of light and shadow
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Material
39
III: Tectonics and
Figure
Louis Kahn stated that “Architecture appears
for the first time when the sunlight hits a wall.
The sunlight did not know what it was before
it hit a wall”(cited in Meiss, 2014, p.121).
Kahn incorporated local material like brick
and large geometrical facade extractions as
a homage to Indian vernacular architecture.
The large facade omissions are abstracted
patterns found within the Indian culture that
were positioned to act as light wells and a
natural cooling system protecting the
interior from India’s harsh desert climate.
Even though the porous, geometric facade
acts as filter for sunlight and ventilation,
the porosity allowed for the creation of
new spaces of gathering for the students
and faculty to come together.

Material
View of the exterior corridor having trace of formwork on columns
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41
III: Tectonics and
Figure
For the Salk Institute Kahn proceeded with exposed
concrete finishes for columns and walls. Since
Kahn wanted “the marks of the tool” left on the
wall and columns he intuitively created ridge by
bevelded plywood panels of formwork.
Since this will show up as a joint in any case,
Kahn chose to accentuate it rather than
attempting to hide it.
Louis I Kahn(1954) also argued that “ornament would
evolve out of our love of the perfection of
constrution and we would develop new methods
of construction”(cited in Ford, 1996, p.319).
Also to Kahn it was the ideal building in that
the circulation of services and the circulation
of people took place completely within
hollows of the structure and in that there
was an exact correlation between architectural
space and structural divisions.

Kahn’s motive was hardly to minimize the cost,
nor to minimize the material per se, but to explain
visually the performance of the structure which
in this building he accomplished by carving away
all that is structurally unnecessary
In the corner where there is minimum structural
load, he reduced the height of the beam and also
provided Vierendeel trusses.
The system allowed a cavity in which structure,
ducts, pipes and lights are intertwined. Kahn was
fascinated by the idea of hollowing out columns,
beams, and other structural elements to house
utilities.
Corner window at entry of A.N. Richards Medical Research Building
16
Structure
43
III: Tectonics and
Figure

Structure
Hall of the stock exchange building in Amsterdam (NL)
17
45
III: Tectonics and
Figure
Hendrik Petrus Berlage is the most renowned
figure in modern Dutch architecture. Born in
Amsterdam in 1856, in his early life he studied
at the Zurich Institute of Technology, where he
came under the lasting influence of Gottfried
Semper (Polano, 2002). In 1881, he returned
to Holland after travelling extensively around
Europe and began his career alongside Theo-
dor Sanders at the prolific architectural firm
Charles L. Thompson and associates.
Berlage’s designs had always been carried out
with his ideology on purpose and community.
As evident in a lot of his work style, Berlage
continually strived throughout his career to cre-
ate spaces that ensured a cultural and politi-
cal purpose. As he referred to it as practical
aesthetics, his works represented at its heart
a sense of community, a fusion of function and
spirit (Stewart, 2017).
Berlage decided to design the new stock
exchange building in such a way that it could
serve as a grand communal home, a public pal-
ace. He therefore built a sort of symbolic city
hall, a ‘public palace’ that could also serve as a
stock exchange.

Structure
Detail of Joints and Construction
18
47
III: Tectonics and
Figure
The most striking depiction of tectonic and
structure in the writing of Berlage was undeniably
present in his work Thoughts on Style.
“Looking at the dwellings themselves, one sees
that the much-lauded speculative development—
mass production of the worst sort—has
created a type in which little remains of what
one usually calls architecture”.
“This same mass production has destroyed the
entire periphery of our towns and devastated
the delightful transition from town to country by
brutally extending the streets directly into the
surrounding countryside.”
“Although some of the buildings show signs of
diligence and talent, the dominant force once
again is the most ghastly mass production,
which lacks any sense of unity”.
His feelings were straight up clear. The existence
of mass production in architecture, according
to Berlage, was the cause of a decaying
value of architecture, a destroyed periphery
of the towns and eventually a lack of a sense
of unity. The way a village, town or a country
is structured in itself speaks a lot for how the
tectonic stands.

The Holland House, London (GB)
19
Structure
49
III: Tectonics and
Figure
During the period of Renaissance, architecture
was already the weakest of the arts, as
compared with painting and sculptures, which
developed their own lines. The cause of the
weakness of Renaissance architecture was that
it took Rome as an example, and not Greece.
Berlage argues that Roman architecture
showed weakness as it did not apply the pilaster
and the column in a purely constructive
manner, as the Greeks did, but put them, cut
through entirely or halfway, against the wall
by the way of ornamentation, without the least
endeavor to find an aesthetical solution for the
ornament of the column head.
Berlage viewed the Renaissance repudiation of
the principles of construction as having principally
caused architecture to fall into a decayed
art.
As per his vigorous studying of the build
structures in various surrounding, he notably
observed that although most Renaissance
work are beautiful, they all lack this one aspect
that one desires in a work of art of the highest
sense, which is the Inexpressible or the unutterable.

Structure
It is believed that Berlage’s design for Holland
House was inspired by the work of Louis Sullivan
after a trip to the States in 1911. The building
is believed to be the first example of a steel
frame structure in Europe. It is clad in glazed
bricks, which were made in Delft and transported
over on the client’s own ships.
The creation of the piazza at the base of the
Gherkin gave an opportunity, for the first time,
for the building to be seen frontally, and perhaps
to be more widely admired. On the south
leg of Bury Street, was a secondary entrance.
On this corner, a stylised relief of a ship steaming
forward seems to symbolise the role of
shipping companies at the time being in the
forefront of design and style, much like this
building.
A Detail on the Facade of the Holland House
20
51
III: Tectonics and
Figure

At facade the combination of vertical columns
and horizontal bands of aluminum panels
coordinates together so not only the vertical
and not just the horizontal are emphasized in
the design. Also the rhythm and order of
columns for the pathway connecting street
and the city center is similar to the order of
the arrangement of columns for the residential
block, creating a harmony.
The concept of waffle slab is used,
where these slabs made of concrete
not only adds to the efficient use of concrete
as a material but also incorporates the electrical
and other service lines in the cavity.
On the two sides of the building
mechanically operated bifold doors are
provided which not only provides shade
and privacy but also acts as an element
to direct visitors towards the Horw centre.
The market hall is flanged with columns
on either side and has a skylight at
centre of the waffle slab roof. This
allows natural light to reach to the centre
of the market hall which is provided with
concrete slab for seating and thus makes
it an interesting space to sit and relax.
55
IV: The Tectonic Detail

Stvan, J.(18 October, 2011), An interior detail of Louis I. Kahn's Kimbell Art Museum, Fort Worth, TX.
Retrieved (21 Jan 2018) from <https://www.flickr.com/photos/diorama_sky/6261633951/in/
gallery-quantum_h-72157630447692218/>
13
58
LIST OF FIGURES
Figure
AD Editorial Team. "Louis Kahn's Indian Institute of Management in Ahmedabad Photographed by
Laurian Ghinitoiu", 20 Feb 2017. ArchDaily. Retrieved (21 Jan 2018) from <https://www.archdaily.com/
805720/louis-kahns-indian-institute-of-management-in-ahmadabad-photographed-by-laurian-ghinitoiu/>
14
Figure
Ford, Edward R.: The details of modern architecture, volume 2, The MIT Press, Cambridge, MA, 1998,
pp. 316
15
Figure
Ford, Edward R.: The details of modern architecture, volume 2, The MIT Press, Cambridge, MA, 1998,
pp. 314
Figure 17:
Polano, Sergio, Fanelli, Giovanni, Heer, Jan, Rossem, Vincent. (2002). Hendrik Petrus
Berlage. Milano: Electa architecture., 2002, Page 13.
Figure 18
Figure 19
Figure 20
Figure 01, 02
Rathore, Anshul : Spinning top. Luzern,2017
Figure 03 - 12
Rathore, Anshul : Vernacular Tectonic Mechanisms at the Freilichtmuseum Ballenberg.
Hofstetten bei Brienz, 2017.
16
Figure

Ford, E. R. (2011). The architectural detail. New York: Princeton Architectural Press.
Ford, E. R. (1996). The details of modern architecture (Vol. 2). Cambridge, MA: The MIT Press.
Meiss, P. V. (2014). Elements of architecture: from form to place. Routledge.
Berlage. Milano: Electa architecture.
59
Etchells, F. (2014). Towards a new architecture. Connecticut: Martino Publishing.
BIBLIOGRAPHY

booklet on tectonics

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