Alex Hogrefe - Architecture Graphics (Review)

Visitor Center Interior Illustration www.alexhogrefe.com

Over the last three years at University there has always been a demand from tutors to represent your idea graphically, to our young architectural minds this is a need to illustrate your ideas to the best of your ability demonstrating the sensuality of the proposed space. Gone are the days of a simplistic watercolour paintings or pencil and crayon, as we yearn for photorealistic projection; coming from what I regard as a lost generation we find ourselves at a menacing threshold, one step backwards from graphite and one step forward towards vectors and pixels whilst learning the principles of architecture.The advantage gained by this new generation is that we can let others see into our minds,using CAD systems but applying drawing techniques in softwares.

There has been no direct teaching from my school on how to represent your idea using the softwares, so it has been a self taught dimension to the course; I do not see this as a downfall as it has given me strengths elsewhere.The school does now, guide the younger years ( I am in third year) through the process of representation,layouts and softwares which is evident in the grades.

Recently, a couple of students from my class came across a site known as www.alexhogrefe.com. Alex created his website in 2009 for the purpose of his education, as it was a mechanism that enabled him to show his tutors his progress through his final project. The website then became a place where he added his thoughts,work and experiments,eventually  it was moulded into a site relating to all things visual. Alex posts his photography and drawings which he regards as...

 'A large part of my understanding of proportion,layout,composition,lighting and many other factors,that directly relate to architectural drawings'.

www.alexhogrefe.com has now become a form of bible to the Architecture students, as there has not been many dedicated sites that concentrate on representational techniques that take the raw model through to a finished illustration, discussing the software used and the workflow to follow. He mainly works in Google Sketch Up, the free rendering programme Kerkythea and Adobe Photoshop CS3; many of the tutorials cover Daytime/Nighttime renders, Lighting,Photoshop Post Processing,quick tip sections and much more.Tutorials are written and are shown through video presentations via youtube.

I am pleased that we came across his website, as it has had an influence on our work, although most of us do not render with Kerkythea or use sketch up we have common ground when we reach Photoshop. Gathering an understanding of the elements required in the work flow, we can adapt the information for our own uses.

The portfolio layout element is also a positive introduction into the uses of indesign, grid layouts and page spreads.

I would like to thank Alex Hogrefe for continuing to post his work and processes on to his website, as it has genuinely helped me personally and probably many others who have never seen directly how to construct such illustrations.

Please have a look and support www.alexhogrefe.com

© 2014 Kerri Rochelle Simpson copyright 

All rights reserved

The Rudolph Steiner House (Open House London 2013)

The weekend of the 21st -22nd September played host to this years 'Open City/Open House Event',celebrating the architecture,the people and the places of London.
An event designed to engage observant and inquisitive Londoners or visitors in their surroundings, enabling one to explore buildings internally and public spaces freely to gain deeper in sight to what it is you pass on their daily journeys. The key to this event is that is absolutely free with access to places you wouldn't normally be able to roam without some form of pass!

This Year over 800 buildings were showcased around London, this included Architect guided tours,public realm walks and even boat tours; all in 48 Hours. It could be regarded as one of the greatest Architectural events of the year.

Follow: @openhouselondon #Openhouselondon

In response to the event, I ceased the opportunity to visit a couple of places that the event had on offer.

 ' The Rudolph Steiner House & Theatre'

 located at 35 Park Road, Camden, London NW1 6XT.

The Rudolph Steiner House ( Grade II Listed) was built between 1926 - 1937 by Montague Wheeler. Mr Wheeler a partner in practice at 'Hoare and Wheeler' was also a member of the Anthroposophical Society. The Rudolph Steiner House was designed as homage to the society.

The design was inspired by the work of Rudolph Steiner himself, relative to the first Goetheanum building in Dornach,Switzland (19140. It was primarily built with timber however due to a 1922 Christmas fire it was destroyed,resulting in a rebuild from concrete with a new 'exprossionist' dimension to form. 

Terrazzo - Steiner related form gesture

The 'Expressionist' form is based on the marble mixed with cement 'Terrazzo' located outside the theatre.This feature of the building played a key design principle,every form is naturally related to every other form creating a form gesture that represents the organic. This is demonstrated via door openings, window openings and the elaborate yet beautiful staircase.

Theatre (1962) - Note Window openings,stage depth and wall colour

The building however was built in stages, beginning with the theatre. The theatre is designed for the use of the ' Arrhythmic Movement', who were a spoken word poetry movement that used gestures in relation to sound  which resulted in travelling to depth of the stage via large forms of movement.

In relation to this whole ideology of expression, the theatre walls also became an art in itself painted using the 'Lazure' technique, which uses water based plant colour pigment.  The colour is applied to a textured surface in the style of water colours with regards to building up layers in order to gain depth of colour. The work was done repeatedly overnight on site by Gary Chippendale and Assistant. The same methodology is subtly implemented on the staircase retaining the organic nature.

The first floor was also built at the same time as the theatre ,other rooms were added later as well as the book shop.

Please spend time to appreciate the infamous focal point of the house, the staircase!

In 2008-2009, the building was refurbished by Nic Pople & Helen Springthorpe with David Tasker ( Gifford Ltd) structural engineer. The refurbishment was in order to meet current legislation and included rewiring, disability facilities, fire alarm system and a new cafe area.
The cafe area is composed of a wooden canopy like structure surrounded by bricks and concrete, with a form maintaining the original Goetheanum style. The pillared central structure uses seven planetary woods (Ash/Sun, Oak/Mars,Sycamore/maple/Jupiter, Hornbeam/Saturn, Cherry/Moon, Elm/Mercury, birch/Venus). Use of such material is said to create a mood of light in a space that was occupied by a fire escape.

Cafe Area Mezzanine

The central pillars were made in lincolnshire out of seven different pieces then constructed on site, it also mimics a tree reinstating the organic nature.The space is quiet small but occupies three different levels. Ground playing home to the kitchen area, the mezzanine as shown on the top image and then a second level where there is extend seating.

In addition to the redevelopments offices were moved from the third floor to the first floor, retuning both levels to the original configuration.

Personal Thought...

As a student of Architecture, it was interesting to see how a building can be conserved and redeveloped. The aspect that particularly caught my interested was definitely the staircase as it was simplistic and the ideology of basing the forms used in the building, from the Terrazzo. This is something I have heard over and over again but fully understanding the result without studying it, was near impossible. It was spectacular to see a building that spoke in its entity, one language, from its form to its materials to its functionality, it is expressive and organic. 
I did enjoy!

See the Video Tour...Rudolf Steiner House - Staircase Video

© 2013 Kerri Rochelle Simpson copyright 

All rights reserved

Rudolf Steiner House - Article Taster Video

Rudolph Steiner  House

Architect: Montague Wheeler 1874- 1937

Redevelopment:  Nic Pople + Helen Springthorpe

The first 'Expressionist House' of London

35 Park Road NW1 6XT

(Open House 2013) 

Click Here for the Article

Song credits: 5 Teile Wodka - The Rain

The Endless Stair - Video Tour

Click here for the Endless Stair article!

In addition to the previous post, here is a short journey through the staircase. It is brief, but will give you more of an emotional response to the project and you will be able to see the interaction  people had with the structure.

© 2013 Kerri Rochelle Simpson copyright 

All rights reserved

The Endless Stairs - drMM Architects, Arup Engineers & SEAM Design

River Facing View

The Endless Stair

13 September '13 - 10 October '13

Monday - Sunday 9AM - Dusk

The Lawn in front of the Tate Modern, 
Bankside,London,SE1 9TG

Who? 
dRMM Architects - Timber Studio
Arup Engineering Structures,Materials and Fire specialist
Sponsored by American Wood expert Council 
Contractor - Nussil

The Endless stair by dRMM in collaboration with Arup Engineering and SEAM Design is part of the London Design Festival, which is a nine day event with hundreds of showcases around London. The staircase is the 2013 Landmark project placed at the Tate Modern (London) . The initial site was set to be at the St. Paul's Cathedral however it is great to see the Tate host this in their front garden.
Inspired by  the works of M.C Escher's 'Relativity', it is composed of 15 interlocking staircases; the Endless Stair provides an interactive installation that creates a panoramic view of the area upon ascend and descent.

Architecturally it is exploring sustainable materials for the future of construction, as the project creators describe the timber used as ' the new concrete'. The design is the second American Hard Wood structure to be commissioned for the 2013 festival of design. The Endless stair is constructed using cross laminated timber ensuring strength and endurance.This is an ' American Tulipwood' which is an abundant type of timber originating from North America, this type of wood is usually a softwood, however this intervention uses a hardwood reducing the quantity needed and also reducing the thickness which effectively makes the structure lighter.

The structure still manages to weigh in at a staggering 11.4 tonnes with a combined total length of 436M (when all the panels used are laid flat) which is 4.5 times the size of Big Ben!

With 187 Endless Stairs this allows for an overall capacity of 93 people at any one time, the shortest staircase has 48 stairs.The intersectional landings give access to different sides of the structure via an 'up and over' methodology,contributing to the exploration of the piece and creating internal views of the structure.Ultimately all ascending routes lead to the top of the piece and all descending routes lead to the ground, however you have the choice of which route you would like to take.Like a maze.

At the highest point you are met with a glass end panel which creates the illusion that you could continue on, a staircase to the skies is what i would say. At this point you have the opportunity to take in the panoramic view of the thames.

Process and Production... 

Select image to see processes( image provided by www.nickwattsdesign.co.uk)

After the whole event, the plan is to deconstruct the stairs,enabling for the wood to be recycled for use in other projects. The project throughout has used and monitored sustainable materials, methods of transport and manufacturing processes.

Did I tell you it lights up at night...

Click Here to see dRMM explain The Endless Stair

Please look out for The Endless Stair at night and the Tour video!

Subscribe or follow us at @KRSarchitecture

Photos of Endless Stair copyright Kerri R Simpson

© 2013 Kerri Rochelle Simpson copyright 

All rights reserved

SouthBank Skate Park Saved?

The London Southbank skate park located in the undercroft of the Queen Elizabeth Hall (River Thames,London) has been alive for over 40 years, being regarded as a place that generations of skaters have rode around becoming part of the London skate cult. 

The south bank skate park forms a hub for skaters around the world, a place that could be defined as a safe skate haven, a place that is dear to the heart of many as they have explored the unit from childhood to adulthood; breaking limitations and setting new goals to achieve.

Southbank is still today a prime meeting point for a lot of London skaters, also a canvas for Graffiti artists retaining its value to the rich artistry and cultural value of the south bank. Instead of taking away from the south bank it is giving back.

For sometime the Southbank skate park has been under threat, there have been plans to demolish and relocate the park put forward by Lambeth council, this was in order to make space for new retail and restaurants that will further develop the income in the south bank area.

Distant Memories

Rich Grafitti Art, notice the SOS...

The undercroft skating area, people passing by at the background and skate boarder in the mid ground

" Thinking about what he may lose"

The Green square indicates the location of the skate park

The above images show what the current state of the skatepark is in 2013, this is a quiet week day. However when speaking to some of the locals, I was told that on a weekend it is far more busier than the week; although at evenings this is where people come to deflate after a long day. 

" What do you think about the demolition of the Southbank Skate Park?"

 A common response was revolved around devastation and a loss, I was also advised to visit this website http://www.savethesouthbank.com a website that leads to a petition, the petition is said to have drawn over 50,000 signatures from the UK and abroad demonstrating the importance it has to so many who use the area.

From an Architectural perspective, taking architecture in not the static but the emotional sense. The skate park gives the area personality, a fully interactive space connecting expressionists to one and another; holding skate jams as well as performances it relates to the static buildings in the area which host cultural and artist events alike; the removal of such a place disconnects social activities whilst depleting the areas richness.

Here is a sample of the new proposal, which looks admittedly a beautiful attachment to an existing building accompanied by the introduction of further green spaces.

Although this image is not directly showing the impact to the undercut it shows the overall vision for the area. To the common visitor it appears to be an attractive touristic place, which will indeed draw a sufficient source of further income to the area,additionally and  possibly exploring other cultural values besides the skate cult known to the area. In the ideal world, we would prefer for the existing development to accommodate the 20% remains of the SouthBank skate park.

The voices were eventually heard in the SouthBank area, however the result  comes with great compromise from the 'Long Live SouthBank Group' ( the group of skater challenging councils decisions).The group have been given the option to allow the skate park to become extinct so that the £120 Million redevelopment can go through, this is in acceptance of a new £1Million skate park to be built under the Hungerford Bridge;extending space by 10% with a 120 Meter span of floor space.

There are three different designs that could be put forward for the relocation as shown by the video above, which is just a little way from the original site. The acceptance from the skaters is still pending furthermore the idea is neither set in stone, so it is difficult to come to a conclusion until discussions have been made; it would be said that it is a very good offer, as an area like the Southbank skate park are lucky to have the opportunity to be heard. I think they should accept and create a new as well as positive outlook for the future of skating,BMX-ing and artists alike!

© 2013 Kerri Rochelle Simpson copyright 

All rights reserved

09/11 Terrorist Attack Memorial

The image above is produced by myself as a reflection of events and devastation that lingered at the time of the September 11th 2001 air attack. 

As a none American my memories are not as vivid as those who were close to the event at time, however social media kept a constant stream of news with repetitive powerful images making those in a foreign country aware of the happenings in America.

I have constructed this image using two powerful social media images, the background shows the twin towers after impact with the fumes dissipating into the clear blue sky.

To me this communicates, the cloud in the clarity; a smoke of devastation with no general knowledge as to why?

The foreground however shows the remains of the towers, another image that was constantly used to depict the extent of the destruction. The lonely on-looker signifies the person who is about to try and rectify the problems, the one who makes the decision as to what happens next, he is not a bold figure in this image but more of one who blends in with the disaster.

As a complete image other things to note is the darkness at ground level, this represents the emotion at ground level a dark time, however played off against the strong blue and red of america, it represents hope and recovery.

R.I.P to those who past on this day, you live in all our thoughts

...Please see these comments as strictly opinionated,a way of looking at things differently...

© 2013 Kerri Rochelle Simpson copyright 

All rights reserved

An Architecture Students Guide to Living in University Halls

Congratulations, you are officially an Architecture student. The questions you may ask yourself over the first few months is 'Oh My Life what is this work load that will not allow me to do all the fun things my flat mates are doing?'. All I can tell you is this is just something that will not change, unless you know how to manage your time effectively and beat your demons.

This article is now going to become your guidance.

Imagine you have just moved in to your less than 12sqm room at University,you have brought all of your things from home forgetting that one day you may just return to your humble abode to find that you have one wardrobe, a desk and a bed in your room. Shock horror right? 

Your first thought it this looks a bit like a prison cell. Anyway, you begin the first two weeks of the course with an outlined brief of your first design project, you have to design a house maybe and produce plans,sections,elevations,3D model,sketches and all sorts of other explorative things that you may never have done in your life. 

In your first year you are likely to be encouraged to hand draw ALOT! You can not go on to produce these fantastically wonderful, futuristic designs if you do not understand the basic principles of hand drawing, wether that be technical or sketches. You will need to know how to use a scale ruler, a drawing board and probably an adjustable set square.

SO firstly when living in halls, you need to organise your work space in order to accommodated for your equipment.

I recommend:

Setting Up The Desk Provided

You will probably have a worn surfaced but sturdy desk, with two draws and a noticeboard above. If your lucky you will get two shelves. With the desk provided, it would be benificial to measure it before purchasing a none freestanding drawing board, as sometimes the back of the board may slip off if the desk is too small.

You could purchase a small 3 tiered draw that will contain, drawing pens,pencils and colours. It is advisable to have a set of drawing equipment to leave at home and one to take to university, so that if you were to loose any then you still have ones at home.

In the two draws provided, you could use this to store documents such as support materials for projects or any preliminary work! I would make sure you keep these draws in order using a filing system for each project.

When modelling at home, ensure you purchase a cutting board to stop cutting through your desk and put down newspaper or a cloth, there is nothing worse than a bumpy desk and one with glue in odd places.

Organising Your Noticeboard

The noticeboard is where I would put my current design briefs and notes on what needs to be produced, this way you can not forget what you are working towards. Always create a list of tasks and tick them off as you go along, your list may change weekly after tutorials but it is a key way to keep on top and organise your time. 

Also the notice board can be layered, a place above your desk where you can pin up reference drawings that you may need while you are working on a current drawing.

It is tempting to do the student thing, where you pin up pictures of friends and family, find another space to do this such as by your bed.Space is precious.

Setting Up Your Wall

Before a critic or review, it is essential that you double check that you have done the work that is required and to make sure it all flows as a project. In your room you could do this by using a wall to pin up your work in order as you would if you was pinning up for a crit. Use masking tape so you do not damage the walls! Leave the masking tape on the wall so that you do not waste masking tap.

Step back from your work and give yourself your own crit.

Storage of Materials for Models/Project

You will inevitably find that you will acquire a good amount of card or even Wood this is BIG... and unless you can find a space within the Architecture department to store this for personal use, you are better off taking it home. You can store this either under your bed, behind your wardrobe, down the side of your wardrobe, at the back of your desk or simply against the wall. eventually you will use it so it will not be there forever; your bedroom is still your bedroom and needs to remain homely.

Put models on your window sill, be carful of condensation as you do not want them to get wet but I find this works well. If your models look good then it will also add to deco in your room.

Do you have extra room for a desk?

If you are a lucky person who has a large room, then you may consider the purchase of a second desk, here can be a multi-use desk. A place for computer work! This will enable you to seperate the two aspects and remain organised, you will find that you will already have your drawing space set up and that you will have a computer desk set up as well. Its like having your own little office at home. Here you can also put your TV, which may like to double up as your monitor depending on how you like to work.

Hope this gives a little help...Good Luck!

© 2013 Kerri Rochelle Simpson copyright 

All rights reserved

How Plate Glass and Float Glass Influenced Changes to the Building Style of the Last 150 Years?

Image provided by http://inhabitat.com/bahrain-world-trade-center-has-wind-turbines/

Through out centuries, the domination of glass in construction around the world has become 
more apparent.Over the last 150 years Britain alone has created a visual documentation of the advancing innovations of glass technology,seeing the construction methods change and new support structures accommodate the ever growing use of glass.

Le corbusier stated "It created a relationship between light and gravitational objects" , such statements confirm the importance of glass and reflect the historical value,which has been inspirational to modern day construction ideas and influential to the future; he is also aware that structural design habits had to change in order to embrace the new technology. 
The excitement basking in the 19th/18th century resulted in a vast amount of companies creating glass for an array of uses such as automotive.retail display and architectural purposes. The common dilemma within the glass industry was manufacturing to specification e.g. Size,thickness,various designs required quicker production times, and achieving pristine clarity in the glass.


Plate Glass

The main glass production type was plate glass due to its ability to suit building styles of that era; this was later followed by float glasses which opened up neoteric impressions of architecture.

Plate glass was profoundly developed in Germany in the 11th century ,further advances by France created the first development in glass technology,using the material for windows and classic glazed doors.By this time glass production was no longer a craft but a potential industry.

In the 18th Century the "British Plate Glass Company" ( Raven Head, Lancashire) was established. This became one of the first companies in Britain to manufacture sheet/plate glass through a process of manual labour and low tech machinery. The machinery in the 1830's known as the cylinder process created glass sheets of uniform thickness ranging from 6mm to 25mm depending on the requirements of the user.

The image above shows the plate glass -
casting table,with cuvette,heavy roller and side rails.

The manufacturing process of plate glass begins with ingredients  from around the British Isles, sands from the Isle of Wight and Kings Lynn were added to decomposed soda of salt, pot ashes and lime; these were regarded as the glass stabilisers. Once the ingredients were established, they were melted together for 1-2days , once this stage was complete, the molten material was transferred to a refectory container were the material was left to be refined for several hours, removing any imperfections such as debris and bubbles. When all defects were nil, the container of molten was lifted from the furnace to a casting table in front of the annealing area; this was now ready to be discharged on to the table in order to become planate by a large metal roller.

The determination for the thickness of the glass was adjudicated by two metal stripes at either side of the casting table, each plate was approximately 12.55M/sq to 10.8M/sq before it was cut. The casting tables on wheels allowed the material once cut to be wheeled out to annealing chambers were the glass was left to cool for a further two weeks.

Plate glass once cooled is a rough material, the glass required to be grounded and sanded to achieve the flat even surface and this was done by hand. Grinding and sanding was followed by smoothing; the glass was smoothed using aluminium oxide and iron bearing minerals originating from the Greek Island 'Naxo's'.  Emery, an abrasive waste substance of sulphuric acid could also be used. On average once produced, glass plates were 12mm thick; however after sanding and abrasion the end product was 6mm thick.

The most extravagant use of plate glass was demonstrated in 1851 by the 'Crystal Palace', Hyde Park, London (Joseph Paxton). The palace is described as a product of the industrial revolution; the Crystal Palace was constructed with modular cast-iron enabling it to be dismantled for re-location in the future. The purpose built enlarged greenhouse had plate glass curtain walled facades, one of the first structures to contradict the need for load bearing walls in a structure as the facade resists its own dead weight and has no weight to bear from the building because its materials are light.

Crystal Palace, (then Sydenham Hill, London,1851)
http://www.greatbuildings.com/buildings/Crystal_Palace.html

This design was initially a small scale project; instead it was enlarged and set new limits to architectural design. The discovery of the limits of glass was followed by the ability to solve factors of the light in a building and increase social well being as seen in the millions of visitors to Crystal Palace.

Plate Glass

Plate glass eventually became a thing of the past due to its long processing time and its inability to produce high quality glass. As a result in 1955 Sir Alistair Pilkington and Kenneth Bickerstaff established what has become " Pilkington's" glass company of today.

Float Glass general process
http://www.agc-group.com/en/about/flatglass_03.html

The manufacturing process of Pilkington's glass is similar to that of when oil is poured on to water, the oil spreads out at the top of the water body; in terms of molten glass, the gravity and surface tension cause the materials parallel surfaces to become completely flat. The equilibrium between gravity and surface tension creates uniform thickness.

An example of the early use of float glass is the " Crystal Palace Station" built after the move of the Crystal Palace its self, following the same design idea as the plate glass built palace, however with a modern change of glass possibly due to the weather resistant qualities of float glasses. As a purpose built station for frequent usage it embraces the natural flood light.

Crystal Palace Station
http://farm4.staticflickr.com/3623/3493825147_fb108e973e_z.jpg

Over the last 150 years glass technology has significantly changed from a craft to an industry that is relied upon by Architects around the world. Modern day glass innovations are on-going and further variations in glass are making our buildings phenomenal. Pilkingtons have created a whole range of glass for the consumers needs,depending on what the consumer wants to achieve from in the building.

These are some of the products influencing building of today and the future. Insulight glass is designed to optimise thermal insulation therefore if a construction project wwas located in a cooler climate or a section of a building was situated in a shaded area with limitations to the amount of sunlight/thermal properties, it would either reduce the buildings heat loss via the windows or allow thermal radiation to pass into the building. A product like this coincides with the current target to create a green and economical building;thermal insulation could reduce heating costs say for an office building.

Optilight increases visible light,achieved by reducing the iron content of the glass. Optilight could more than likely be used in an industrial building were maximum natural light is a bonus, in contrast Arctic Blue tinted windows prevent glare and controls solar energy. These types of glass are produced as glass facades, they also have different types of fixings depending on how the structure of the building is designed.

Lippo Center,Admiralty, Hong Kong,China
http://www.12hk.com/area/Admiralty/LippoCtr_PHOT0582.html

The example image above of the Lippo Center by Paul Rudolph of Wong-Ouyang ltd ( an Australian), the Lippo Centre is said to resemble Koala bears climbing as tree. The building is part retail and part office spaces, the innovation was constructed with float glass and steel.

With the choices of thickness (0.4mm-25mm) and the technology widely available within the glass industry, the influence that glass has on building designs of the future is immeasurable; the competence of glass will help see in economical large scale building designs and achieve new concepts. Although the glass making has become the industry,the Architects/Designers have become the crafts men retaining 

Bruno Taut's quote...

 " Glass has no other purpose than to be beautiful" - 1918.

References

The Great Exhibition 1851. (2002) from Historyuk: http//www.historic-uk.com\HistoryUK\England-History\GreatExhibition1851.htm

Behling,S.a (1998), Glass, In structures and technology in Architecture,foto nigel oung

Center, L (2009) Home,,from lippo centre: http://lippocenter.com.hk

Ltd,T.T (2004, 12 22) Float Glass Technology,  from Tangram: httpp://www.tangram.co.uk

Pilikingtons, (2011) Pilkingtons: http://www.pilkingtons.com

Pye, D.B (n.d) Glass in Buildings, Pilkingtons

Watts, D (2009-2010) Thames plate glass A History of glass making London.

Wiki,Crystal Palace station http://en.wikipedia.org/wiki/crystal_palace_railway_station

Wiki ( n.d) Wiki Retrieved from Crystal Palace

© 2013 Kerri Rochelle Simpson copyright 

All rights reserved

Architectural Sexology ( Alpha,Omega and their Spaces)

This essay was written by Kerri R Simpson (Me), please refrain from copying the body of this essay,references are given at the end.

Architectural Sexology:

Alpha, Omega and their space secretes

Alpha – The first letter of the Greek ‘alpha’-bet, a word used to describe a male of dominance, a prefix for many a words such as alphabetisation, alphanumerical, alpha-meric; words that are used to assemble order. Symbolically represented as an angle creating a peak, the universal ‘Α’ when caps are locked, adapting his self to a ‘α’ in his lowercase.

Omega – The last letter of the Greek alphabet, a word used to describe the female, the end, the death. However once her surface has been unrolled, her literal meaning is the ‘Great O’.  Then symbolically represented by an ‘O’, with feet in her capital and a curvaceous petite ‘ω’ in her lowercase form.

Sex and sexuality a once taboo subject matter that today is discussed freely among 21^st century dwellers of all hierarchy’s, becoming a common ice breaker between juveniles before performing near public acts at their own discretions; with readily available contraceptive methods provided by the economy schemes , creates a freedom for the multitude.  Thirteen year old Alpha takes his C-Card to his local clinic where he can obtain a selection of condoms at no charge, he can only do this Three times a year but he does get Twelve condoms each time meaning he could potentially have sex safely Thirty Six times a year, this is not so bad considering it said that the average working couple have sex Two to Five times a month.

However the key difference between lowercase alpha and a working couple is that little alpha, although obtaining his free rubber, he probably does not have a space that allows him to perform his sexual acts as freely. Whereas our fully grown Alpha and Omega have a large dwelling of which they have a form of ownership, allowing them to participate in activities how and when they please.

This exploration poises the statement “Architectural Sexology”, the above statement simply explores our ability to participate in activities on a sexual or non-sexual level within a form of architecture.  Architecture is a dictator of sexual lifestyles as it can either provide a sexy boudoir or what is known to many youngsters of the north today a ‘Halfway house’, being a multipurpose house that is used by many at different times to engage in sexual activities, determined by key holders.

The presence of these private or semi-private spaces allow for sexual life’s to exists, thus showing the importance of sexual lifestyles to define such spaces as private, semi-private and public.

There have been many discussions as to why and how sexuality relates to architecture considering man and woman as an emotional response to dwelling as well as the influence of the human aesthetic formation, furthermore the architectural representation by a force trying to project its power to society, a variation of theories relating to anthropomorphism.

 

Alpha body and Omega body

A key important factor in our sexual lifestyles is the body, whether you love a person more for their personality than their body; an instinctive reaction to an attractive figure enhances the bond between the two persons.

The body is frequently used as a resource throughout design disciplines, particularly and interestingly used in building design as it creates a connection between the human and the building beyond just interaction. Taking the way in which we describe an architectural piece and the analogies we have assigned to the layers of the structure as skeleton, skin and footing bares close reference to the human body, this consideration is derivative from a theory by Ayn Rand in ‘the fountain head’ novel where he portrays a male figure as the ideal man, embracing the common perception people have on the role that male architects hold and their persistence in creating what is deemed as masculinity.

The character in the novel agrees with the principals of modernity that buildings are generally masculine with the assertion of integrity supposedly just like men, hence the anthropomorphism.

In addition to this anthropomorphism, the construction of high rise buildings and the prominent civic architecture are regarded as an emblem of power in a city scape. The ideology stands that –

“without symmetry and proportions there can be no design principles in any design of the temple; that is, if there is no precise relation between its members as in the case of a well-shaped man” (Iain Borden, 2003)

The male body is deemed a perfect earthly creation, a body of immaculate proportion of which should be used as a template for construction. The beauty of the male is admired by females and males, a powerful form that again is regarded as strength however having the ability to nurture its user, like a muscular Alpha cradling his new born child. Creating a sense of protection, care, sensitivity and homage; a place where the child can retreat to feel secure, the space in terms of the distance between two objects or more, in this case the biceps and the chest create a temple of retreat. Later in the young infant’s life, the same ratio also becomes a temple of appreciation, with a prayer pattern of embrace. Once the Omega sees such things she senses dominance and results in fatal attraction of which she would have for no other alpha, another alpha may see this as a threat or become envious due to the fathers well-shaped symmetry and proportions, wanting to become like him. This sets a template for the perfect man.

Renzo Piano’s Shard, being the tallest building in the UK at 24 storeys high; is a reflection of male dominance. The shape of the shard is a pyramid which unlike other vertical towers, diminishes in floor space as you circulate to the peak of the tower, a shape which is also deemed as a hierarchal shape that once you reach the top you are the most powerful. This brings me back to the ironic shape of the Alpha symbol the ‘A’ which coincidentally holds the same formation. Furthermore the Shard is constructed with concrete, glass reflecting the weather, at most times appearing to be a transparent centre point and a steal frame having the confidence to be different along the London skyline. The Shard has masculine virtue of ratio, size and quality, but it could also be taken as a homosexual due to its un-conformed nature.

In contrast to Renzo’s poetic response to masculinity, Le Corbusier ‘Modulor’ explores mathematical proportions of  a six foot able bodied white man, then used his findings to improve the appearance as well as function of architecture.

 “…Range of harmonious measurements to suit the human scale, universally applicable to architecture and the mechanical things”

Masculine architecture in all aspects from the geometric to the symbolic is defined by orientation and its association with architectural elements.  Vertical elements have an association with the masculine and the astronomical, where horizontal elements are seen as earthly and feminine.

Femininity in architecture is based more on its curvilinear features, like the male it has its own poetic and geometric make up, however its connotations are generally defined by the male.

For example, females are pressured to have a certain appearance, they come in all different shapes and sizes, more variant than that of the male. Yet femininity is defined by curvilinear form, not all females are as curvaceous as another, the percentage of sex appeal of a curvaceous figure is equated by the analysis of breast, buttocks and hips. A proportion is required among many men for a woman to be visually stimulating, encouraging the need for exploration; this is a reflection of its femininity in architecture in its geometric sense.

Le Corbusier’s visit to Rio in 1929 reflects just this theory, after having an affair with a jazz singer Miss Josephine Baker; he becomes engrossed in the beauty of Brazilian women. The architect develops a sketchbook of Mulatas from clothed to naked, being obsessed with these women he brings his new found interest into an architectural piece developing a plan for Rio that consists of sinuosity and overt landscape to sea expressing the beauty the city has to offer. The attempt to explore his sexuality in architecture with his curvaceous mega structure is an opportunity he may not have had in Europe, a freely exotic exploration he obtained in Brazil.

Vitruvius-

 “In the invention of two types of columns, they borrowed the manly beauty, naked and unadorned for the one, and for the other the delicacy, adornment and proportions characteristics of women”

Vitruvius associates ornamented surfaces with femininity, describing the common Doric column (template) of strength, solidifying and being beautiful. Discussing how the Doric column can mutate into a female form thus the Corinthian column becoming slimmer and elegant with attributes of nature replicating locks of hair. Similar to how Eve the daughter of the Christian God became a being from the single rib of Adam in Genesis 2:21-23, not to be over shadowed by Adam but to be of equal importance having the same value but a different form.

The idea of feminine ornament in architecture allowed the buildings to become attractive to the eye instead of being a mere vernacular form, diverting ones perception from the internal order by way of decorative natures poising a distraction from reality. In relation to decorative natures representing femininity comes the textures or materials used, for instance a masculine natured building is defined by its rigidity, coldness and crystalline nature like that of a igneous extruded rock whereas a female the Omega is perceived to be soft, timid and subtle baring relative to membranes, floral and  internal furnishings.

 

Habitual Alpha and Omega

Habitual alpha and omega are known as  man and woman living in co-existence like that of Adam and Eve , how male and female interact with a space given, how space is defined by sexual interactions in the literal and the figurative, the impact of architectural configurations of public, private and semi-private on relationships between people .

The politics to such situations are defined as ‘Sexpol’ since the 1920’s discussed in books such as ‘The Sexual Revolution’ by Freudian Wilhelm Reich conversing the ability to control and regulate sexual activities in the places we interact with such as a University, a home or the doctors surgery. He explores positioning and separation of rooms, the situ of certain walls to instil a political force upon society relating to the USSR communist conformity.

Freud the psychoanalytic took 2oth century Vienna as his case study working with the bourgeois from whom he himself derived, a small minority that had the same habitual attitude, releasing the repression and assumptions about the prohibition of sexuality in the bourgeois society. In Vienna a city where gender roles are clearly distinguishable as female being the labourer of domestic life and the barer of children, this policy fuelled his exploration as a large fraction of Freud male clients had their first sexual experience with domestic servants, furthermore the exclusive public spaces in the city which allow the development of sexual relationships of the bourgeois society and further the indulgence in sexuality, noting the availability of sex to the extent that it could be purchased ; yet still having a need to keep it hidden away or to be a taboo.

This is a key example of the sexual tension between private and public sexuality demonstrating  repression, although being available in the ‘public’ on streets in the form of prostitution as pointed out by like-minded poet Zweig as ‘ at every hour and at every price’. Being so readily available in the current climates of the public streets and the built environment however it is still denied socially. Although Reich discusses spaces, the spaces are rarely named as definitive names but mostly as just space, the in-between.

Referring back to little alpha and his free condoms, through Freud’s theory, the boy should have the ‘freedom from sexual oppression’ which would be ‘meaningless without the freedom from economic, i.e. that sexual freedom is a condition of communism and vice versa.’ Reich wrote a book aimed at eight to twelve year olds, entitled ‘The Sexual Struggle of Youth’ at an attempt to begin the overturn of sexual division becoming socialistic.

Using the Constructivist Architectural Sexpol theory, where people such as Leonard Sabsovich who tried to be implement the idea of the ‘Dom Kommuny’ also known as house-collectives, the methodology of construction was to encourage a change in the form of sexual relations. The intention to diminish marital status exposes its dwellers to become potential bachelors, wives and playmates; leaving the possibility for couples to be parted by the portioning of space via sliding walls. Such walls are a reminder of blinds in the glass communal house that can be lowered for as they say “Sexy time”, with a permission slip one has the ability to engage in sexual relations with another. This opens up space for V mayakovsky like threesomes becoming a masculine revolutionary and liberation in sexuality.

Therefore leaving the structures to structure the inhabited and embodied space, defining sexual identities, “logic derived from common set of conditions of existence to regulate practice of a set of individuals in common response to those conditions” (Outline of a Theory of Practice 81). The habitants of the architecture  is conditioned, distinguishing genders  via the distribution of bodies in space and being a democracy  from the alpha and omega bodies in space; a variation in the flow through the building as a male or a female. The distinct flow is worked by partitioning or variation in floor levels to maintain social hierarchy and distinctions.

An example of this in use, in line with the discussion is the Schindler’s House. Located in a reclusive Hollywood suburb, away from view of the road while it kinkily reveals itself in sections; it is a collection of interlocking L- shapes composed of concrete and wood incorporated with views to the garden.  Deemed as a co-operative dwelling, it is an open house design for two couples, Rudolph Schindlers and his wife Pauline and their close friends Marian and Clyde Chace. Such arrangements may lead to adultery in both marriages, although flirtation in this environment is clear, it would be ok to assume that there would be a possibility for a more fluid sexual relation in the design. Instead of being a successful arrangement, it was actually a project fail as the Chase’s moved out in 1925 after three years and the Schindlers went their separate ways in 1926.

The house of Schindler perceives sex as the pinnacle aspect of life, encouraging sexual encounters not as a XXX situation but an opportunity to be open about sexual habits, a methodology that USSR adopted in order to create communal living which instead of becoming more sexually fluid, it became tense and sexless breaking down the relationships between Alpha and Omega resulting in the need for privatisation for such acts through Architecture.

Sex is Sex Conclusion

The Alpha no matter how it is portrayed, whether he be a boy or a man he can do as he please whenever he please, alpha dares to explore his sexuality publicly, semi-publicly or privately. Flaunting his form as a result of his perfectly assembled structure, his vertical nature combined with his rigidity and coolness; he is the political key holder of power architecturally due to his role as a functional building and a dictator of sexual interaction due to his ability to create and divide socialist spaces. Even when he dares to differ from normalcy he still finds his way of creating that emblem of power, control and leadership; he is responsible for defining femininity and provided the template for femininity.

Femininity seem to come second to Alpha, she is the lady and the woman  however she hardly gets the opportunity to show it accordingly, knowing she has derived from Alpha she has no choice but to be sexualised due its opposing nature, “ if it isn’t straight it is curved”, she has sinuosity that no man could naturally achieve . Her femininity even as a labourer or a prostitute is powerful force in itself, the way she takes over the Doric column and makes it her own, the way she uses the vertical planes to provide public space to seek victims that she allows in her private domain; this displays her area of control, the ability to entice the alpha to adapt slightly as an encouragement to break down conformity.

The Schindlers house not being a completely successful in its experimentation, shows that more than one man and one woman in the same dwelling with minimal, what we deem as ‘privacy’ cannot be achieved; primarily because it is too open of a situation where the relationship between Alpha and Omega is no longer exclusive. This then becomes a sexpot with no differentiation between mine and yours, right or wrongs, husband and wife. In theory the building is semi-public as relationships diminish between parties and there are no privatised areas, with no single ownership over an entire area. Spaces only defined by removal of walls means that a space cannot be defined hence the reason Reich could never define or name spaces.

Concluding there can only be one Alpha and one Omega, the two works in harmony, the situation sees that the two may co-exist in private but may not co-exist in constant publicity.

 Anything else in my opinion is crude sexuality that holds no bounds for existence, with no real powerful influence on infrastructure or structure. Love conquers all.

Bibliography

Corbusier, L. (2004). Le Corbusier. Princeton Architectural Press.

Farrar, S. a. (1969). The sexual Revolution. New York.

Hatherly, O. (2008). Militant Modernism. John Hunt publishing.

Iain Borden, B. P. (2003). Gender Space Architecture: An Interdisciplinary Introduction. Taylor & Francis e-library.

Lico, G. R. (n.d.). Architecture and sexuality. The politics of Gendered Space, pp. 30-44.

Sanders, J. (1996). Stud Architctures of Masculinity. Princton Architectural press.

Schindler, R. (1932). A Co-operative Dwelling. T-Square.

Williams, D. R. (n.d.). Sexuality,Space And the Architectural Project. : A Privisonal History, pp. 1-14.

Works Cited

Corbusier, L. (2004). Le Corbusier. Princeton Architectural Press.

Farrar, S. a. (1969). The sexual Revolution. New York.

Hatherly, O. (2008). Militant Modernism. John Hunt publishing.

Iain Borden, B. P. (2003). Gender Space Architecture: An Interdisciplinary Introduction. Taylor & Francis e-library.

Lico, G. R. (n.d.). Architecture and sexuality. The politics of Gendered Space, pp. 30-44.

Sanders, J. (1996). Stud Architctures of Masculinity. Princton Architectural press.

Schindler, R. (1932). A Co-operative Dwelling. T-Square.

Williams, D. R. (n.d.). Sexuality,Space And the Architectural Project. : A Privisonal History, pp. 1-14.

© 2013 Kerri Rochelle Simpson copyright 

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