“Reinterpreting Tectonics in Contemporary Architecture: The Intersection of Cultural References, Technology, and Material Significance” “Tectonic Theory: Repositioning Architecture and Construction in the Modern Era”

The art of materialization and dematerialization of buildings,
intricately woven with the poetics of construction, captures Frampton’s concept
of tectonics in architecture—a fundamental practice of shaping forms,
structures, and light. When
assessing a building’s exterior, we identify the prominent features that
characterize its overall shape and appearance. This idea goes
back to Frampton, citing that the concept of tectonics used in contemporary
buildings have been technically categorized in three solid manifestations: technological,
scenographic, and tectonic (Frampton & Cava, 2001). Technological elements
serve practical functions with design, while scenographic ones suggest hidden
aspects. Tectonic elements are further divided into ontological (relating to
essence or being) and representational forms, adding layers of meaning to
architectural design. As much as how it is defined, this framework provides
architects with a comprehensive approach to designing buildings, be it both
functional and rich in meaning, ensuring that tectonics are not just
structures but also narratives (why is it added there?).
However, it is within this investigation that the reinterpreting
how of the concept of tectonics should be discerned.  To breakdown my research into key points that will
be addressed under the umbrella of re-interpreting tectonics in contemporary
spacious buildings, I will have breakdown a quote stated by Charlotte Bundgaard,
an Associate Professor at Aarhus School of Architecture (AAA). Bundgaard
emphasizes that architects today design within specific contemporary
parameters, including production methods, materials, ethics, and cultural
values. Tectonic thinking, therefore, goes beyond mere constructional logic; it
encompasses how these constructions contribute to a building’s narrative and
material significance (). For instance, the Pompidou Centre in Paris (Figure 1.1),
designed by Renzo Piano and Richard Rogers, showcases exposed steel structures
and colourful pipes, serving both structural and aesthetic purposes. Its
transparent facade offers insight into the building’s inner workings,
challenging architectural norms with its avant-garde hint. Similarly, the
National Museum of African American History and Culture in Washington (Figure 1.2),
by architects David Adjaye, Philip Freelon, and Max Bond, features a bronze-coloured
lattice facade inspired by traditional African American craftsmanship. This
three-tiered design symbolizes the journey from slavery to freedom, celebrating
African American history and resilience. These examples illustrate how
tectonics in architecture are influenced by cultural references and the
surrounding context. In other words, a symbiotic relationship between
tectonics, cultural references, and contemporary architectural initiatives. Eventually,
architects draw inspiration from local culture, history, and environment to
create unique design elements that reflect the identity of the building. This
paper seeks to delve further into this symbiosis, clarifying how these three
elements shape the built environment of today and tomorrow.
Additionally,
these examples often illustrate that architects either employ building
materials, systems, and construction methods in an aesthetically expressive
manner, or they seek to integrate and adapt building technology into the
architecture (). So, when a building seeks to use technology on the exterior of
a building it highlights the fact that in an expressive way with a possibility
of complexities since systems of structural, mechanical, and electrical, façade,
along with details and materials play a role on the architectural qualities of
a building. On the other hand, if it is concealed, it results in the
possibility of seeking simplicity instead. Thus, the distinction in
representation determines whether buildings are classified as tectonic or
stereotomic, high-tech or low-tech, with their approaches being either
representational or ontological.
Eventually, Kenneth
Frampton succeeded in repositioning tectonic theory as a medium of
architectural criticism in the 1980s and early 90s, recognizing the assigned
reading Rappel a L’Ordre, The Case for the Tectonic. Frampton explores
tectonics in a contemporary view and expands on the fact that it is used in both
construction technology as well as in design. I have used the case studies of Masdar City Abudhabi and Sidi Hrazem