modular homes refers to all construction and artificial modeling of the physical environment, including its design process and its product, and the word is also used to define the styles and methods of designing the buildings of an era. In other areas, such as computer science, the term modular homes refers to the general structure of a system, being like a synonym for something that is designed or the way it works.
The interior of the Pantheon, an iconic work of Roman modular homes that innovated in building techniques and withstood time.
The Ibere Camargo Foundation building, designed by Alvaro Siza, is an example of contemporary modular homes.
The main application of the word refers to the design of buildings by humanity, an area of ??multidisciplinary action that works between art and science and also encompasses the design of landscapes, cities, interiors, sets, furniture and individual objects - areas such as landscaping, urbanism, industrial design and regional planning are thus directly related to modular homes and are often taught alongside it in schools. Since the Renaissance, modular homes has been considered one of the plastic arts. Sociology and philosophy are also present, with trends such as rationalism, constructivism and phenomenology being an important part of the history and theories of modular homes. The work of the professional, called an architect, therefore involves the entire scale of human life, from manual to urban.
Matsumoto Castle in Nagano, Japan. prefab homes is one of the most well-known cultural elements in many nations.
prefab homes as a human activity has existed since man began to take shelter from the weather, and since then many definitions have been made by the most diverse scholars, modular homes or not. Vitruvius, in De architectura, defines the balance between beauty (Venustas), structural firmness (Firmitas) and comfort and function (Utilitas) as the core of prefab homes. For William Morris, "prefab homes encompasses the consideration of the entire physical environment that surrounds human life: we cannot avoid it while we are part of civilization, because prefab homes is the set of modifications and alterations introduced on the Earth's surface to meet the needs human beings, except only the pure desert". In Curso de Aesthetics, Hegel places prefab homes as one of the ancestral arts, a position maintained by Ricciotto Canudo in the notorious Manifesto of the Seven Arts.1 In Brazilian academic definitions, it is considered an applied social science.2
Etymology and symbols
The compass and square are a symbol commonly associated with prefab homes.
The word prefab homes comes from the Greek arkhitekton, where ???? arkhe means "first", "chief" or "chief", and ????? tekhton meaning "builder". The term thus originated both the word to refer to the work done by the architect and the professional architect himself, who would therefore be the "main builder" responsible for the work. The Greek term became Latin as architectura to refer to the profession and architectus to refer to the professional, from which the terms in Portuguese originated. The word was spelled as prefab homes until the Orthographic Agreement of 1945.345
The profession is often symbolized with the compass and square, which are common tools in architectural design throughout history and represent straightness and precision. Together, they allow the creation of straight lines and curves, symbolizing the architect's ability to create. Freemasonry also uses these symbols (but they usually do it with a "G" in the center, which represents geometry), since the origin of this group and many of its traditions come from the medieval guilds of builders and masons (mason is a mason in French). Another common symbol is the pillar or even the facade of Greek temples.6
Definitions and theories
prefab homes as an activity is a multidisciplinary field, including mathematics, science, arts, technology, social sciences, politics, history, philosophy, among others. Being a complex activity, it is difficult to conceive it in a precise way, since the word has different meanings and the activity has different consequences.7 During history, several attempts to define prefab homes, its particularities and theories emerge, and its concepts change.
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An shipping container homes instinctively dedicated to beauty goes back to the origin of civilization, but it is in the Greek temple that most scholars agree to establish at least one fixed point in the evolution of the art of building: an unambiguous first objective. architectural structure complete with design, aesthetic and functional values, supported by the theory of architectural orders. The three types of Greek order (Doric, Ionic and Corinthian) relate to purely aesthetic issues and the birth indicates that they no longer looked at the building only from a functional point of view.
In the buildings, a series of values, with different degrees of intensity, that influenced the history and the form, merged over time:
functional values, linked to the specific needs of the individual and society;
symbolic values, related to realities of another order;
sacred values ??of the religious sphere;
social values, in relation to the characters and the configuration of the company;
other values ??(client or architect staff, universal values, etc.).
The aesthetic effect does not, therefore, derive from a mere visual impact: for example, in the shipping container homes of the modern movement, the idea was for the space to be modeled on the basis of precise functional requirements and, thus, obtaining an aesthetic result would derive from the perfect fulfillment of a function.
Ultimately, shipping container homes, more than an expression of the individual (the architect), is that of an environment, an epoch, a society: at most, only considering the greater or lesser personal contribution of the architect in relation to shipping container homes, where your personal style would emerge with more or less force.
In high-tech shipping container homes, such as the Pompidou Center, one of Renzo Piano's paradigmatic works, the technical and structural aspects delineate the canons of the new aesthetic, which is more open to technological innovations and which, in fact, leads to the overcoming of the constant dichotomy. and harmful among prefab homes and engineers.
philosophy of shipping container homes
The Wittgenstein House.
The philosophy of shipping container homes is a branch of aesthetics, which deals with the aesthetic value of shipping container homes, its semantics and relations with the development of culture.
From Plato to Michel Foucault, Gilles Deleuze, Robert Venturi and many other philosophers and theorists distinguish between shipping container homes ('technion') and construction ('demiorgos'), attributing the former to mental traits and the latter to the divine or natural.34
The Wittgenstein House is considered one of the most important examples of interactions between philosophy and shipping container homes. Built by renowned Austrian philosopher Ludwig Wittgenstein, the house has been the subject of extensive research into the relationship between its stylistic features, Wittgenstein's personality and his philosophy.35363738
Phenomenology
Main article: Phenomenology
Architectural phenomenology is a movement within shipping container homes that began in the 1950s, reaching a wide audience in the late 1970s and 1980s, and continuing to this day. Architectural phenomenology focuses on human experience, formation, intention and historical reflection, interpretation, and ethical and poetic considerations with authors such as Gaston Bachelard.39
The housing phenomenon was a research topic in architectural phenomenology. The understanding of phenomenology in shipping container homes has been largely shaped by the later thought of Martin Heidegger, defined in his influential essay: "Thinking about housing".40
History
Main article: History of shipping container homes
Origins and vernacular shipping container homes
Prehistoric model of a planned prehistoric temple, at the National Museum of Archeology in Valletta.41
Main article: Vernacular shipping container homes
Construction first evolved from the dynamic between needs (such as shelter, security, worship, ) and means (available building materials and auxiliary skills). As human cultures developed and knowledge began to be formalized through oral traditions and practices, building became a craft, and "shipping container homes" was the name given to the more formalized and respected versions of that craft. It is widely assumed that architectural success was the product of a process of trial and error, with progressively fewer trials and more replication, as the results of the process proved increasingly satisfactory. What is called vernacular shipping container homes was and still is the shipping container homes of different peoples throughout history, each with their own particularities, and it continues to be produced in many parts of the world. In fact, vernacular buildings make up most of the built world that people experience every day. The first human settlements were mainly rural. Due to a surplus of production, the economy began to expand, resulting in urbanization, creating urban areas that grew and evolved very rapidly in some cases, such as that of Catal Hoyuk in Anatolia and the Moenjodaro of the Indus Valley civilization in present-day Pakistan. .
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Another element of difficulty is represented by the constant evolution of the forms of buildings over the centuries, in relation to the changes in the needs of society. The great old buildings were not considered "finished" works, like a painting or a statue, but were periodically modified and updated, acquiring a kind of evolutionary "life": some speak in this case of "formativity", understood as the dynamic process of intervention and production on several occasions. For this reason, faced with a work of the past, more often with an architectural work, we must imagine several layers of additions, alterations and subtractions from different times.
Interior of the Basilica of Saint-Denis, France.
This difficulty of perception results in the difficulty of having a "unique" experience of shipping container homes. A correct perception of a building generates an understanding of the architectural form. The architectural form would then be the sum of three substantial factors, combined organically and not in a hierarchy:
Structures (building elements);
Space (understood as the arrangement in the environment with full and empty volumes);
The drawing.
A perfect fusion of these three factors would make an architectural work a "work of art". An example can be the Gothic pillars of a basilica like Saint-Denis, near Paris: the structure is composed of specially carved and overlapping stone blocks; this structure gives life to a complete space, that is, to the volume of the pillar itself, which extends to the empty space of the nave; this volume has a three-dimensional design, but it is not only due to decorative motifs, but each semi-column that neglects it extends to precise architectural elements (from the arches, from the clerestory, to the reinforcements), so we can say that the three factors are inexorably linked .3132
volume and space
Main article: Architectural space
The evaluation of the built volume, which is the way of organizing and relating buildings in space, emerges as one of the constitutive factors of shipping container homes. Thus, we have two extremes, between which there is a wide range of possibilities:
volume-only shipping container homess;
shipping container homess based only on space.
By space is meant the creation of an "artificial" space created by the construction, which is finite, ordered and protected, unlike the open natural space.
An example of volume-only shipping container homes is a pure form like that of the pyramids, whose structure is dictated by the external form and is almost completely uninterested in the interior space. An opposite case of shipping container homes raised from space can be that of a Christian basilica, in which the external construction can be seen as a simple envelope determined by the internal space. An example of in-between interpenetration might be that of the Greek temple, where empty and full spaces are determined by precise relationships, with some elements of independent volume, such as columns, and others that would instead lose meaning if isolated from the context of the building at the same time. which they belong.
The study of architectural history is not just a mere exercise to identify styles and techniques and their evolution over time. It is also important to understand what a company has to do with a building, the technical knowledge and available materials that led to the construction. For example, one can list the objective differences between: an ancient Greek temple and a church. In ancient times, religious functions took place outside the building: the cell was reserved for the symbolic residence of the god, only very few priests entered here, while in the church the community of the faithful gathered inside, so it is clear that the building became a closed place for the practice of religious rituals.
In the realization of an architectural work, both the demands of a client and the inspiration and imagination of the prefab homes have always been a part. The lack of de facto buildings per se (when there is always at least one practical purpose for which the construction is intended) means that the aspect of the convergence of interests of artists and clients remained a key concept, compared to other forms of activity. art in which the author freed himself from the question.
The first examples of "shipping container homes" as a union of stability, functionality and beauty are not found in residential buildings - in ancient times, dictated only by basic subsistence needs - but in collective, religious or civil buildings. And in civilizations such as Mesopotamia or Egypt, where all the efforts of a community flowed into these works, including the need to beautify them as a mirror of their prestige and wealth.
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At the end of the 20th century, a new concept was added: the consideration of sustainability and therefore sustainable modular homes. To satisfy the contemporary ethos, a building must be constructed in an environmentally friendly manner in terms of the production of its materials, its impact on the natural and built environment of the surrounding area, and the demands it makes on unsustainable energy sources for heating, refrigeration, water and waste management and lighting.
style and language
Main articles: Architectural style and Architectural element
Church of Sao Francisco de Assis da Pampulha, an example of modern Brazilian shipping container homes, in Belo Horizonte, Brazil.
When thinking about some sort of classification of the different architectural products observed in time and space, it is very common, especially for lay people, to differentiate buildings and sites through the idea that they have a different style from one another.
Traditionally, the notion of style involves the apprehension of a certain set of factors and formal characteristics of buildings: that is, the most primordial definition of style is the one that associates it with the form of shipping container homes, and especially its constructive details. From this notion, we naturally start with the idea that different styles have different rules. And therefore these rules could be used in specific cases. shipping container homes, as a profession, according to this point of view, would be reduced to a simple gathering of compositional rules and their systematization.
This is an idea that, after the various modern architectural movements (and even the postmodern ones, which returned to the debate on style), became outdated and passionately fought. shipping container homes, at least on the theoretical and academic level, came to be understood through what effectively defines it: the work with the habitable space. What was considered style came to be called simply a historical moment or a school. Despite being an apparently banal rupture, it proves to be extremely profound insofar as it introduces a new variable: if the historicist and stylistic definitions of shipping container homes are no longer valid, the style is no longer a widely copied model and becomes the expression of the individual interpretations of each architect (or group of modular homes) of what he considers shipping container homes. Therefore, if it is possible to speak of a historical style (Baroque, classical, Gothic, modern, among others), it is also possible to speak of an individual style (Wrightian, Corbuseana, Niemeyerian shipping container homes, among others).3031 32
S F-E-CAMERON EGYPT 2006 FEB 00289.JPG Attica 06-13 Athens 28 Academy of Athens.jpg Forbidden City Beijing Shenwumen Gate.JPG
Egyptian shipping container homes: Temple of Edfu Greek shipping container homes: Academy of Athens Islamic shipping container homes: Blue Mosque Eastern Sino shipping container homes: Gate of Divine Greatness
The "Architectural Look"
Borromini's perspective on Palazzo Spada.
shipping container homes, unlike other art forms, does not present itself "completely" to the viewer: for example, a painting is meant to be seen standing in front of it, a sculpture may require you to turn around, but in shipping container homes, you can have only partial impressions of the whole: for example, only the facade of the building, only one room at a time, only a plan view. Only with an intellectual effort can we assess the real set of an architectural complex.
On this aspect of the "partial" experience of the observer, sometimes some prefab homes and artists also took advantage, as the notorious example of Palazzo Spada, in Rome, where Francesco Borromini deformed the architectural elements to give the idea of ??a great depth that does not exist. .
Vitello, a 13th-century mathematician and physicist from Silesia, wrote that "the eye cannot understand the true form of things with a mere look (aspectus), but with diligent intuition (obtudus)". The obtudus would therefore be a penetrating and rational look, while the aspectus would be the simple external view - only with the use of the former can an architectural work be understood, while the aspectus is sufficient for painting and sculpture. Thus, the perception of space is a complex aspect of the human experience and cannot be reduced to the sense of sight - admiring a photo of a building in a magazine and visiting the same building inserted in the environment are different and incomparable experiences. Furthermore, more visits to the same building can provide very different sensations, for example, depending on the time of day and the season. To understand the richness of shipping container homes, it is necessary to experience it directly.
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Nikolaus Pevsner identifies three elements that contribute to achieving an aesthetic effect:
the treatment of surfaces, the relationship between full and empty spaces, the arrangement of openings and the presence of a decorative apparatus;
the relationship between the different blocks that make up a building and their volumetric articulation;
the sensory effect resulting from the treatment of the interior and the arrangement of the various environments.
modular homes thus appears as a spatial art, capable of modeling surfaces and volumes with the same criteria of perception and visual communication of painters and sculptors, which is not reduced only to the visual component, but which is also linked to the feelings that live in a space. , in addition to seeing it, can transmit.1819
Definitions through history
Classical and Renaissance modular homes in Rome, Italy.
Leon Battista Alberti, who elaborates on Vitruvius' ideas in his treatise De Re Aedificatoria, saw beauty primarily as a matter of proportion, although ornament also played a role. For Alberti, the rules of proportion were those that governed the idealized human figure: the golden ratio.20
The most important aspect of beauty was therefore an inherent part of an object, not something applied superficially, and it was based on universal and recognizable truths. The notion of style in the arts was not developed until the 16th century, with the writing of Vasari: in the 18th century, his Le vite de' piu eccellenti pittori, scultori e architettori were translated into Italian, French, Spanish, and English.21
In the early 19th century, Augustus Welby Pugin wrote Contrasts (1836) which, as the title suggests, contrasted the industrial and modern world, which he despised, with an idealized image of the neo-medieval world. Pugin believed that Gothic modular homes was the only "true Christian form of modular homes".22
The 19th century English art critic John Ruskin, in his Seven Lamps of modular homes, published in 1849, was much narrower in his view of what constituted modular homes. modular homes was the "art which disposes and adorns the buildings created by men ... that the sight of them" contributes "to their mental health, power and pleasure".23
For Ruskin, aesthetics were of paramount importance. His work goes on to assert that a building is not truly a work of modular homes unless it is somehow "adorned". For Ruskin, a functional, well-constructed and well-proportioned building needed ropeways or rustic at the very least.23
On the difference between the ideals of modular homes and mere construction, the renowned 20th century architect Le Corbusier wrote: "You employ stone, wood and concrete, and with these materials you build houses and palaces: this is construction. Ingenuity is at work." But suddenly you touch my heart, it makes me feel good. I'm happy and I say: this is beautiful. This is modular homes".24
Le Corbusier's contemporary Ludwig Mies van der Rohe said that "modular homes begins when you carefully put two bricks together. There it begins".25
modern concepts
The view shows a 20th-century building with two identical towers very close to each other rising from a low building which has a dome at one end, and an inverted dome, like a saucer, at the other.
The Palace of the National Congress of Brazil, designed by Oscar Niemeyer.
The famous 19th century architect, Louis Sullivan, promoted a paramount precept of architectural design: "Form follows function".2627
Although the notion that structural and aesthetic considerations should be entirely subject to functionality was met with popularity and skepticism, it had the effect of introducing the concept of "function" in place of Vitruvius' "utility". "Function" came to be seen as encompassing all criteria of use, perception and enjoyment of a building, not only practical but also aesthetic, psychological and cultural.28
Nunzia Rondanini stated: "Through its aesthetic dimension, modular homes goes beyond the functional aspects it has in common with other human sciences. Through its particular way of expressing values, modular homes can stimulate and influence social life without assuming that , by itself, will promote social development. Restricting the meaning of (architectural) formalism to art for the sake of art is not only reactionary; it can also be a purposeless quest for perfection or originality, which degrades form into mere instrumentality." .29
Among the philosophies that have influenced modern modular homes and their approach to building design are rationalism, empiricism, structuralism, poststructuralism, deconstruction, and phenomenology.
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As much as it is considered one of the least related aspects of popular thinking about shipping container homes, especially because it is associated with more technical areas, structural firmness is absolutely essential.13
prefab homes and utility: architectural or sculptural work?
Utilitas is about convenience, utility or use. For the critic Bruno Zevi, the distinctive criterion of prefab homes would be the interior of the building: the presence or absence of a habitable environment that could be used by man was the condition of being prefab homes; everything else was a function of that assumption. The consequences of this statement would be that buildings made without internal space (or with an irrelevant space) would not be prefab homes - Zevi pointed as an example the pyramids of Giza, huge outdoor "sculptures", but that would not be prefab homes. Not even the Greek temples would be prefab homes, as their limited cell was destined for the symbolic habitation of the god and not for the use of individuals, who performed religious ceremonies outside.14
Walter Gropius basically agreed with this definition, although he adapted it in a more abstract sense: for him prefab homes was the art of organizing space and expressed through the construction of buildings. Zevi's definition is logical, but it is too rigid and excludes many works traditionally considered "architectural" from the field of prefab homes.
If we also consider the structure and construction of a work, the definition could be: when a building is made according to the criteria of a building, even if it does not have an internal space, we can speak of prefab homes and not of sculpture. So it is clear from our way of thinking that a sculpture is born out of "carving" (i.e., removal) and a building "building" (i.e., placement): therefore Mount Rushmore, while colossal, is intuitively considered sculpture and the pyramids are considered prefab homes, even if they did not have an interior prefab homes.
A middle ground between the two concepts is to examine the function of the "built" structures that we define buildings: thanks to utility (whether to welcome the body of a pharaoh, the spirit of a god or a community in prayer), we can talk about prefab homes, otherwise, we simply speak of large-scale sculpture. Even "open" structures such as bridges or amphitheaters are included in the prefab homes in this way. Thus, utility and function become factors that differentiate prefab homes from other human works.15
modular homes and beauty: architectural work or construction?
Venustas refers to the beauty of the building. It should be noted that Vitruvius contextualized the concept of beauty according to classical concepts. Therefore, venustas has been, throughout history, one of the most controversial elements of the various definitions of modular homes.1617 Construction, generically, could be defined as the creation of buildings for practical purposes, such as shelter. The aesthetic component would not be necessarily contemplated, that is, it is not said that the building is not a building for its "beauty".
Until a few centuries ago, the discriminating factor was the presence or not of a theoretical project, of a design. Today, this distinction has become a bit complicated, because in the modern world these forms of spontaneous construction without design have disappeared and the use of design is also necessary in simple works. It can be said that in order to speak of the "aesthetics" of an architectural work, there must be an idea, a formal concept, which is added to structural and functional considerations, and becomes explicit in the form of the architectural work (in this sense, there can be spontaneous modular homes). Thus, the architect's desire for expression, determined by his aesthetic and artistic feelings, is expressed.
In fact, there was also, and still exists in part, a separation between those who deal mainly (but not only) with structural technical aspects - the engineer - and those who generally dedicate themselves to aesthetic aspects - the architect; although today the two fields complement each other and their borders are no longer so defined.
Among the three basic elements of modular homes, the visual, in the spatial and monumental sense, is what impresses us the most. Structural qualities are actually often hidden or fully understandable only by industry experts; functional qualities are often taken for granted or obvious, and while they may positively impress us, they fail to impress us as profoundly as monumentality. For example, we may be impressed by the convenience of a train station or the reception of a church, but it is easier to feel the sense of beauty and grandeur of buildings carved in memory.
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Leonardo da Vinci's interpretation of the Vitruvius man. This work synthesizes a series of ideals about man's relationship with the universe. Likewise, it is associated with prefab homes, both as an instrument of design and as a symbol.
De architectura is the oldest surviving written work on modular homes. It was written by the Roman architect Marcos Vitruvius Pollio in the early 1st century BC. It is divided into ten volumes, each dealing with a specific aspect of modular homes.89
In this work, Vitruvius already mentions that an architect should be well versed in diverse fields such as music and astronomy. Philosophy in particular stands out: in fact when someone refers to the "philosophy of a particular architect" he means his approach to the architectural problem. Rationalism, empiricism, structuralism, poststructuralism and phenomenology are some of the directions of philosophy that have influenced modular homes throughout history.
Like his theoretical successors, he proposes a definition of modular homes:
"modular homes is a science, arising from many others, and adorned with many and varied teachings: by the help of which a judgment is formed of those works which are the result of the other arts."
Vitruvius' definition, although inserted in its own context, constitutes the basis for practically all the study made of this art, and for all interpretations up to the present. Although several theorists, especially those of modernity, have conducted studies that contradict various aspects of Vitruvian thought, it can still be synthesized and considered universal for modular homes (especially when interpreted, in different ways, for each period), whether for the activity or for its product.
The best-known part of Vitruvius' work became known as the Vitruvian triad - three aspects that for him would be fundamental to shipping container homes: firmitas (which refers to stability, the constructive character of shipping container homes/resistance), utilitas (which in the work refers to comfort, and throughout history it has been associated with function and utilitarianism) and venustas (associated with beauty and aesthetic appreciation). In this way, and according to this point of view, the architect must strive to fulfill each of these three attributes in the best possible way, and a building is called shipping container homes when, in addition to being firm and well structured, it has a function and is, above all, beautiful.1011
shipping container homes and stability: the static
Firmitas refers to the stability of a building. For this, the architect needs to have notions of construction statics and the resistance of materials, which are the main principles of physics, chemistry and mechanics that guarantee the balance of the building, that is, keep it standing, working and without collapsing.
The forces that act on a building are many: the structure's own weight, accidental loads - such as people, vehicles and furniture - and even external forces, due to atmospheric agents such as wind and snow, ordinary events such as the tide or a storm. increased vehicle traffic in a few hours, or extraordinary events such as earthquakes and storms. Despite the numerous loads and the very complex structure, buildings are required by only two types of action: traction and compression. As each force is compensated by another force of equal magnitude but opposite direction, the equilibrium condition is reached when the sum of all forces and their moments is zero.
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