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Publication Work 2005/2006(2006-02-18)WORK is an annual publication of the Department of Architecture that documents student work in design studios and courses in the Master of Architecture and Post-Professional programs, as well as events, faculty news and student awards. It also includes abstracts of PhD dissertations defended that year. It provides an opportunity to explore the creative work of our students and is a permanent record of work in the Department.Publication Work 2006/2007(2007-02-18)WORK is an annual publication of the Department of Architecture that documents student work in design studios and courses in the Master of Architecture and Post-Professional programs, as well as events, faculty news and student awards. It also includes abstracts of PhD dissertations defended that year. It provides an opportunity to explore the creative work of our students and is a permanent record of work in the Department.Publication Walter Benjamin and the Tectonic Unconscious: Using Architecture as an Optical Instrument(1999) Mertins, DetlefThe writings of Walter Benjamin include appropriations and transformations of modernist architectural history and theory that offer an opportunity to broaden the interpretation of how the relationship between the 'unconscious' and technologically aided 'optics' is figured in his commentaries on cultural modernity. This essay focuses on three moments in his writings, each of which touches on this topic in a different way: first, on Benjamin's reading of Carl Bötticher's theory of architectural tectonics as a theory of history in which the unconscious serves as a generative and productive source that challenges the existing matrix of representation; secondly, on Benjamin's transformation of Sigfried Giedion's presentation of iron structures into optical instruments for glimpsing a space interwoven with unconsciousness, a new world of space the image of which had seemingly been captured by photography; and thirdly, on Benjamin's suggestion that the mimetic faculty continues to play within representation, history and technology to produce similarities between the human and the non-human. In each instance, Benjamin reworked the dynamic dualism of nineteenth-century architectural tectonics - (self)representation seeking reconciliation with alterity - into a dialectic. In so doing, he set the cause of revolution (of a modernity yet to come) against metaphysical and utopian claims, progressive and regressive alike.Publication Work 2004/2005(2005-08-01)WORK is an annual publication of the Department of Architecture that documents student work in design studios and courses in the Master of Architecture and Post-Professional programs, as well as events, faculty news and student awards. It also includes abstracts of PhD dissertations defended that year. It provides an opportunity to explore the creative work of our students and is a permanent record of work in the Department.Publication Where Architecture Meets Biology: An Interview with Detlef Mertins(2007-01-01) Mertins, DetlefI began doing research on Mies van der Rohe in the early nineties, after Fritz Neumeyer had published his book The Artless World, (1994). Neumeyer foregrounds Mies' library, the books that Mies read. He was also the first to collect all the things that Mies himself wrote. One of the things that I found very surprising was that Mies was a reader of science, and especially of biology in the 1920s. He had a collection of about 40 books by the botanist Raoul Francé, the author of Der Sanze als Erfinder ("The Plant as Inventor," 1920). This was surprising, for I had always thought of modernism as an architecture of technology rather than an architecture that was imbued with organic aspirations and ethos. One thought of organic architecture more in terms of biomorphic form; in the German context, one thought of Hugo Häring, but not the straight-up-and-down, orthogonal architecture that Mies developed, or his expression of structure.Publication The Modernity of Zaha Hadid(2006-01-01) Mertins, DetlefDuring the heyday of postmodernism in the 1980s, as architects turned to historical styles, urban traditions, and popular culture to rebuild the public support that modernism had lost, Zaha Hadid declared that modernity was an incomplete project that deserved to be continued. This was an inspiring message and its bold vision was matched by projects such as the competition-winning design for The Peak in Hong Kong (1982-1983). Hadid's luminous paintings depicted the city and the hillside above it as a prismatic field in which buildings and landform were amalgamated into the same geological formation of shifting lines, vibrant planes, and shimmering colors, at once tangible and intangible, infused with the transformative energy that Cubist, Futurist, and Expressionist landscapes had sought to capture.Publication Design in the World: An Interview with Detlef Mertins(2006-09-11) Manaugh, Geoff; Mertins, DetlefGeoff Manaugh, editor of BldgBlog , interviews Detlef Mertins, Professor and Chair of the Architecture Department at the University of Pennsylvania for the website Archinect . The interview covers a range of subjects concerning architecture and education today, including the nature of contemporary experimental design, the role of digital media, formats of commercial development, issues of ecological design, and architecture's social and political responsibilities.Publication Dynamic Indices of Building Thermal Performance(1981) Braham, WilliamFrequency transform and finite difference techniques are applied to a simple network developed using the equivalent thermal parameter (ETP) methodology. Subsequently a set of normalized parameter groups derived from the systems equations and solutions are discussed as indices of building thermal performance.Publication Eyes That Do Not See? The Practice of Sustainable Architecture(1995) Braham, WilliamUnder New York law, roof-top water towers are invisible. The terms of the code are not vague; the silhouette of a water tower and the shadow it casts are transparent to the zoning envelope and the sky-exposure plane. This is not, of course, truly mysterious; it results from the neglect of a small effect in the guarantee of sufficient light at street level. But water towers are invisible in quite another sense and this raises useful questions about architecture.Publication After Typology: The Suffering of Diagrams(2000-01-11) Braham, WilliamArchitects produce diagrams, not buildings, but diagrams that are wholly immanent, wholly embedded and coextensive with the materials, configurations, and forms of buildings. Theories of representation and expression have tended to privilege the concept over the building, treating the artifact as a site of interpretation, a mere extension of the process of its production. But if such concepts could be adequately expressed or understood separately from their manifestations, then the buildings themselves would be unnecessary. Architectural concepts only exist fully in their realization, as discoveries through the non-linear process called design. That condition of immanence inspires the recurring attention to method and process in the architectural discourse and equally the frustration with the embedded quality of the theorizing that it reveals.