RECONTEXTUALIZING HISTORIC VALUES
Within this project I am aiming to suggest a new approach towards architectural facades, an approach entitling the architect back to it’s essential role of being an artist. An artist aiming to recreate a Gesamtkunstwek, by using today’s technology and production possibilities and meeting these with the historic values of the facade. Rather than having the design completely ruled by computer generated aesthetics, as executed in several postmodern examples, a new aesthetic language shall derive by recontextualizing our inherited classical notion of beauty, into today’s world.
Analyzing these specific values of historic facades, that make them to appreciated and fascinating buildings, is crucial to understand how they may be translated. Which is a complex subject matter, deserving a greater extensive attention in order to be completely comprehend. Though I hereby would like to propose the corner stone of a potential scenario answering the question of how architectural historic values of the facades can be recontextualized in our current and prospective built environment.
A crucial component of the historic facades, making them to their enchanting presence is their three dimensionality. They are complex in patterns as much as in volumes, these plasticized elements add to the narrative richness of the building as much as to it being perceived as a well thought through design, with it’s underlying intentions and notion of beauty. This three dimensionality of the facade may be subdivided into the three following concepts.
- derived principles are being symbolically materialized -
- re contextualizing architectural historic values with modern production possibilities -
The facade shall act as the transition between the public and the private domain
It shall announce within the public the presence of the private, as much as it shall prepare one leaving the private entering the public. Openings within the facade such as the entrance and the windows, shall not simply be a two dimensional entity placed within the walls of a building, but rather be a spatial entity serving it’s function of gradually introducing the private to the public and the public to the private. Furthermore it shall incorporate the potential benefit of being private within the public, such as the role of a balcony and the one of being public within the private, such as the role of a generously designed entrance, able to shelter pedestrians.
Each element shall be conceived as an independent oeuvre, making it’s individual
presence as valuable as it’s place in the Gesamtkunstwerk of the facade.
Each element of the facade shall be designed serving it’s function, as much as it shall be sculpted for being part of the public domain. It shall not only be a window, as much as architecture shall not just be a building, it shall embody the aesthetic intentions and visions of the creator
The facade shall be alive simply by taking sense in the movement of the sun,
letting the facade speak a language of light and shades.
The complex carvings, detailing and variation in depth are fascinating since they convey not only the extensive time-consuming work, but they also do hold an enchanting play of shadows within them. One that becomes alive and starts narrating with the rotation of the earth around the sun, making the facade take part in our lives, by reacting upon it, giving the facades a soul.
These three concepts are all to be seen individually as much as an entity, since each of them is directed towards one specific value, but they all do embody each others values. Translating these into today’s circumstances, is achieving their essence by the means of contemporary materials and production techniques, using the aesthetic form language developed within the above mentioned subject matter. Materializing this research results in suggestive architectural elements, intending to intervene in the existing built environment as much as being potential elements for the prospective.