Kenneth Frampton: Rappel a L’ordre, the Case for the Tectonic (1990)

Fig1
Photo credit: https://www.dezeen.com/tag/cyborgs/

In this article, Frampton discusses the importance of tectonics and methods of construction and its relationship with architecture. He considers the role of tectonics as a bridge between the art of an idea (conceptualization) and the art of making (realization). Frampton makes a valid argument of an architectural approach that is informed by its tectonics and that is expressive of its structure and materiality. Additionally, Frampton explains how the current tendency to reduce architecture to scenography has become a response to architecture as commodity, that is reflected in Venturi’s decorated shed: comparison of shelter as a giant commodity.  This has in turn caused a shift of one’s center of gravity.

The article addresses the issue of tectonic form and criticizes post-modern scenographic approach to shelter. It discusses abstract origins of art and constructional basis origins of tectonics. The article identifies three conditions of tectonics:

1. Technological object (arises out of an instrumental need)
2. Scenographic object (may be used to attract an absent element)
3. Tectonic object (appears in two modes; ontological and representational tectonic

He also points out that 20th century architecture lacked a tectonic relationship and this had a cyclical relationship to our “loss of culture” and spirituality. This seems fair to an extent yet at the same time I feel it’s part of a natural development that the society is reluctant to embrace.  On one hand we are losing the human touch to objects, however a machine may better suit our needs on a microcosmic and macrocosmic level.  Perhaps the poetic sense in creation and manufacturing will become evident as we will have to work that much harder to achieve them.

Tectonics

The word tectonics actually comes from the Greek word tektonikos, meaning “pertaining to a building” (Oxford English Dictionary) which is derived from tekton meaning carpenter or builder. Tekton is derived from the Sanskrit word, taksan, which refers to carpentry or the use of an axe. Taksan comes from the proto-indo-european root tek, which simply means to make. Tekton went on to be used to describe all sorts of craftsmen, literal and figurative. A person could be a tektones sofoὶ, meaning a craftsman of wisdom, which was usually used to described poets and philosophers. It is by this means that we reach the word architect, which comes from combining tekton with the prefix, archi.

When used in an architectural sense, the word tectonics is used to describe the form of a building and the designer’s use of elements such as walls, roofs and floors to create the general design of the structure. When the word tectonics is used, it is usually referring to how these elements are assembled together or constructed. For example, the tectonics of a Frank Gehry building (Fig2a) are much different than the tectonics of a Louis Kahn building, for instance (Fig2b).

Fig2a: Fish Sculpture, Frank Gehry
Photo credit: https://www.barcelonaturisme.com/wv3/en/page/1232/peix-fish-frank-gehry.html

Fig2b: Kimbell Art Museum, Louis Kahn
Photo credit: https://www.archdaily.com/

Additionally, the intentional exposition of structural elements as a form of expression is known as Architectonics. Architectonics is a related term, which describes the act of purposefully exposing mechanical, and electrical systems in a design as a means of expression, as seen at the Pompidou Centre in Paris (Fig3). 

Fig3: Pompidou Centre, Paris
Photo credit: https://www.archdaily.com/