Αναφορές

τοίχος ο [tíxos] Ο18 : κατακόρυφη κατασκευή από πέτρες, τούβλα, μπετόν ή άλλο υλικό, με μικρό πάχος σε σχέση με το ύψος ή το μήκος της, που χτίζεται για να δημιουργήσει έναν κλειστό χώρο, να χωρίσει ένα χώ ρο ή να περιφράξει μια έκταση: Εξωτερικός / εσωτερικός / χαμηλός / ψηλός / χοντρός / λεπτός ~. Δρομικός ~. Xτίζω / υψώνω / γκρεμίζω έναν τοί χο. (έκφρ.) σαν να μιλάω στον τοίχο, όταν δε με προσέχουν ή δε λογαριάζουν όσα λέω. κλείστηκε μέσα σε τέσσερις τοίχους, ζει απομονωμένος στο σπίτι του. δεν άφησαν παρά τους τέσσερις τοίχους, αφαίρεσαν όλα τα κινητά αντικείμενα από ένα σπίτι. στήνω κπ. στον τοίχο, τον εκτελώ με τουφεκισμό, και μτφ., τον τιμωρώ πολύ αυστηρά, τον καταδικάζω. (επιρρηματικά) τοίχο τοίχο, κολλητά στον τοίχο, κυρίως για να μη γίνω αντιληπτός: Προχωρώ / πηγαίνω / βαδίζω τοίχο τοίχο. ΦΡ χτυπώ / βαρώ το κεφάλι* μου στον τοίχο. κολλάω κπ. στον τοίχο, τον κάνω να μην μπορεί να αντιμετωπίσει τα επιχειρήματά μου. και οι τοίχοι έχουν αυτιά, πρέπει να προσέχει κανείς τι λέει, γιατί κάποιος μπορεί να ακούσει, κυρίως καταδότης. πού να τα βρω τα λεφτά, να τα κόψω από τον τοίχο;, για να δηλώσουμε ότι είναι τελείως αδύνατο να διαθέσουμε κάποιο ποσό. || (μτφ.): Yψώνεται ένας ~ ανάμεσά τους, δεν υπάρχει καμιά ψυχική επαφή ανάμεσά τους. τοιχάκι το YΠΟKΟΡ. τοιχαλάκι το YΠΟKΟΡ.
[αρχ. τοῖχος· τοίχ(ος) -αλάκι]
http://www.greek-language.gr/greekLang/modern_greek/tools/lexica/triantafyllides/search.html?lq=%CF%84%CE%BF%CE%AF%CF%87%CE%BF%CF%82&dq=

Green wall
A green wall is a wall, either free-standing or part of a building, that is partially or completely covered with vegetation and, in some cases, soil or an ...
http://en.wikipedia.org/wiki/Green_wall

Screen wall
Brick screen wall http://blog.ounodesign.com/2009/01/21/brick-screen-wall-new-delhi-by-anagram-architects/
http://www.globaldesignworkshop.com/design-philosophy-architectural-theory/
curtain-wall
party-wall
traditional Japanese wall

Facebook wall
http://en.wikipedia.org/wiki/Facebook

Deuleze Guattari: A thousand Plateaus
http://books.google.com/books?id=B9xLrS6mpGoC&pg=PA189&lpg=PA189&dq=deleuze+white+wall&source=bl&ots=j2gwltwKCQ&sig=42-e-HVVJtjT2bkM4bYrgRq6cxc&hl=el&ei=L7yfTJPpEMig4QaG7syKDQ&sa=X&oi=book_result&ct=result&resnum=3&ved=0CCAQ6AEwAg#v=onepage&q&f=false

K. Michael Hays: Architecture theory since 1968
http://books.google.com/books?id=4JQKFqe9m-wC&pg=RA1-PA341&lpg=RA1-PA341&dq=screen+wall+architecture+theory&source=bl&ots=XTlgRxrMSp&sig=uZyIhPho55sUCiL8VZGJ0GE5ZJk&hl=el&ei=d7-fTMbeFtSJ4gbUxMDQDQ&sa=X&oi=book_result&ct=result&resnum=4&ved=0CCUQ6AEwAw#v=onepage&q=screen%20wall%20architecture%20theory&f=false

Beatriz Colomina: Sexuality and Space
http://books.google.be/books?id=4WgmIOthwa4C&printsec=frontcover&hl=en#v=onepage&q&f=false

Adolf Loos: House with a wall
http://books.google.com/books?id=XWfAacUb3gAC&pg=PA36&lpg=PA36&dq=adolf+loos+house+of+a+single+wall&source=bl&ots=atUKbQH9WB&sig=NMMwo588ejtkxfeKghgvXbl5GtY&hl=el&ei=RrSfTOmoBtWA4AaRpaGqDQ&sa=X&oi=book_result&ct=result&resnum=1&ved=0CBIQ6AEwAA#v=onepage&q=adolf%20loos%20house%20of%20a%20single%20wall&f=false
Curious then, this feeling for the decorative effect of figuring in the arch-enemy of all ornament. Even more curious is his persistent use of the classical columns and mouldings. The crassest of these was his project for the Chicago Tribune, an unplaced competition project; it was an extraordinary scheme which consisted of a vast Doric column, (the shaft alone 21 storeys high) on a high parallelepiped base. To Loos, however, the project seemed wholly serious. The building was to be a pure classic form, classic and therefore outside the reach of fashion, so that it would fulfil the programme of the competition promoters to 'erect the most beautiful and distinctive office building in the world'. A naughty extravaganza you might say. Of course. But Loos was convinced, secure enough, to allow himself that also. He had imagined a way of life in the house. The felicities of the plan all exult in the way the house was to be occupied, to be lived in. And does everything to ennoble it formally by a quiet unassertive wit. It is at this scale that Loos was at his happiest. The private houses are his masterpieces: they, the bars, the clothes shops, all buildings on a small scale, for the greater dimensions of public urban building he could not quite master. Though perhaps this is not entirely fair to him. In 1920 he was appointed chief architect for the Siedlungen of the post-abdication, the newly Republican Vienna. It was the nearest he came to giving positive expression to the western civilization he spoke of in architecture. But he was consumed by one or two detailed ideas which he never fully worked out: the terrace house with weight-bearing party-walls, and light construction cross-wall (what he called ‘the house with one wall’); the use of stepped terraces, so that the roof of one house could serve as garden to the next; the provision of access at every other floor, so that the terrace became in fact an immeuble villa, to adapt Corbusier's phrase. But his appointment did not and could not last. Only one of his Siedlungen was actually built, only partly following his plans before he retired, disappointed and embittered, to Paris. It is too easy to say that it was fated, that he should have remained the architect of the individual villa. Although all his projects for great public buildings show him at his worst, the low income housing absorbed his ingenious talent, drew the egalitarian and the moralist in him to a full engagement."
http://rawandthecooked.blogspot.com/2006/03/maison-tristan-tzara.html 
Adolf Loos worked with a row house type economical by virtue of its structural design. He named his design “the house with one wall” and patented it. Only the firewalls consisted of masonry material, each of which supported the ceiling beams of two adjacent neighbors. The house front facing the street and the yard consisted of wooden walls.
http://books.google.com/books?id=ypp9LMK2OzgC&pg=PA18&lpg=PA18&dq=adolf+loos+row-house+with+one+wall&source=bl&ots=aMQm4FX0RD&sig=Pl05h9JSVlM1rVwYxT-ptKmuq5M&hl=el&ei=6XmxTL6wHZDJswaolOTWDQ&sa=X&oi=book_result&ct=result&resnum=3&ved=0CCEQ6AEwAg#v=onepage&q=adolf%20loos%20row-house%20with%20one%20wall&f=false 

Le Corbusier: Fenetre en longueur
http://en.wikipedia.org/wiki/Le_Corbusier
Five points of architecture
It was Le Corbusier's Villa Savoye (1929–1931) that most succinctly summed up his five points of architecture that he had elucidated in the journal L'Esprit Nouveau and his book Vers une architecture, which he had been developing throughout the 1920s. First, Le Corbusier lifted the bulk of the structure off the ground, supporting it by pilotis – reinforced concrete stilts. These pilotis, in providing the structural support for the house, allowed him to elucidate his next two points: a free façade, meaning non-supporting walls that could be designed as the architect wished, and an open floor plan, meaning that the floor space was free to be configured into rooms without concern for supporting walls. The second floor of the Villa Savoye includes long strips of ribbon windows that allow unencumbered views of the large surrounding yard, and which constitute the fourth point of his system. The fifth point was the roof garden to compensate for the green area consumed by the building and replacing it on the roof. A ramp rising from ground level to the third floor roof terrace allows for an architectural promenade through the structure. The white tubular railing recalls the industrial "ocean-liner" aesthetic that Le Corbusier much admired. As if to put an exclamation mark after Le Corbusier's homage to modern industry, the driveway around the ground floor, with its semicircular path, measures the exact turning radius of a 1927 Citroën automobile.
Les 5 Points d' une architecture nouvelle, which Le Corbusier finally formulated in 1926 included (1) the pilotis elevating the mass off the ground, (2) the free plan, achieved through the separation of the load-bearing columns from the walls subdividing the space, (3) the free facade, the corollary of the free plan in the vertical plane, (4) the long horizontal sliding window and finally (5) the roof garden, restoring, supposedly, the area of ground covered by the house.
http://wiki.answers.com/Q/What_are_Le_Corbusier%27s_five_points_towards_a_new_architecture 

Semper Gottfried
Did the original building skin serve primarily as a ceiling enclosure to provide weather protection or as a lateral enclosure to keep roaming wild animals at bay? This debate originated mostly with Gottfried Semper , who held that the animal pen, a fence woven from branches and twigs, was the origin of the wall, and hence of architectural space. In his seminal work “the Style” in the mid 19th century, Semper refers to the common origin of cladding and spatial art. Semper divides architecture into load-bearing and cladding…
http://www.amazon.com/Detail-Building-Skins-englisch/dp/3764376406/ref=pd_sim_b_2#reader_3764376406

Robert Venturi: Learning from Las Vegas
“Aesthetics and order in Las Vegas”
Vegas is studied as heightened example of architectural persuasion with a combination of forms, styles, both architecture and landscape, where the strip embodies the difficulty of inclusion rather than the easy unity in exclusion.
First, [aesthetic sensations] may be produced by the treatment of walls, proportions of windows, the relation of wall-space to window-space.
Secondly, the treatment of the exterior of a building as a whole is aesthetically significant, its contrasts of block against block.
Thirdly, there is the effect of our senses of the treatment of the interior, the sequence of rooms...."
What defines the symbolic spaces and places of Las Vegas - the super-hotels of The Strip, the casino-belt of Fremont Street - is pure environmental power, manifested as colored light. The effectiveness with which space is defined is overwhelming, the creation of virtual volumes without apparent structure is endemic, and the variety and ingenuity of the lighting techniques is worth studying.
One of the most interesting things about boring architecture is the inherent amount of contradictory messages given by commercial designs and urban sprawl. There is a contrast between the two types of order on the Las Vegas Strip: the obvious visual order of the street elements and the difficult visual order of the buildings and signs. The zone of the highway is a shared order. The zone off the highway is an individual order. The elements of the highway are civic. The buildings and signs are private.
The book the individual elements of panorama, front, side, entrance, parking, oasis, foliage, sculpture, sign, and interior.
Signage and Communication over space
The architecture of the buildings which support the sign is purposefully ugly and boring. Each sign is different, yet they share certain traits; their location, size. Each sign possesses symbols borrowed from another era, and made its own. Venturi salutes this lack of innovation: What he calls "old words with new meanings" are, after all, more in line with clients' value systems.
Venturi speculates that modern designers have shunned symbols because they pervade our culture and thus are now debased themselves.
http://hubpages.com/hub/Learning-from-Las-Vegas

Andreas Ruby, Ilka Ruby: El reencuentro con el suelo en la arquitectura contemporánea Groundscapes.
Este tercer espacio, concretamente, se convirtió en el centro de la investigación arquitectónica cuando Paul Virilio y Claude Parent fundaron su grupo Architecture Principe en 1963, el año en que Le Corbusier proyectó el edificio para Olivetti. Ambos parten de una crítica de las monoculturas representadas por la horizontalidad de la Broadacre City (1935) de Frank Lloyd Wright, así como por la verticalidad absolutista del rascacielos americano, pero también critican las utopías metabolistas de Constant, Yona Friedman, Domenig/Huth y otros. Mientras el moderno distanciamiento del suelo sólo se acentúa con la superposición de nuevas ciudades espaciales sobre la ciudad existente, Virilio y Parent inventan con su ‘función oblicua’ un módulo conceptual para la producción de una continuidad urbana: en lugar de limitarse a situar una nueva ciudad sobre la existente, cambian la disposición del suelo existente haciendo que la ciudad nueva surja ‘oblicuamente’ de la anterior. Esta intención se revela en el proyecto del centro cultural de Charleville (1966) con más intensidad que en la iglesia construida de Sainte Bernadette (Nevers, 1964−1966). Se trata de un gigantesco volumen ligeramente inclinado, ubicado en el lecho del río Meuse. A la altura del nivel del agua, el volumen se abre en forma de rendijas para que los botes puedan entrar directamente desde el río al edificio y atracar en los muelles de su interior, los cuales están conectados a su vez a los espacios públicos de la parte superior mediante una rampa en espiral. De acuerdo con la idea de Virilio de la ‘circulación habitable’, todas las superficies tienen varios programas. Así, por ejemplo, la cubierta se convierte en una plaza urbana para reuniones informales o en escenario al aire libre, cuyo público puede situarse en las tribunas que hay en el tramo más inclinado de la misma.
Para Parent y Virilio la ventaja decisiva de los planos inclinados reside en esta capacidad para establecer una corriente ininterrumpida entre el interior y el exterior. Esta idea, que apenas tiene repercusiones en la arquitectura francesa, en cambio proporciona impulsos decisivos al debate internacional, cuyas consecuencias arquitectónicas se plasman por vez primera, paradójicamente, en Francia. En 1976, Oscar Niemeyer recibe el encargo del partido comunista francés de construir la nueva sede del comité central. Su proyecto parece continuar desarrollando las ideas de Parent y Virilio, cuya asociación terminó un año después por actitudes diferentes ante la revuelta de los estudiantes en mayo del 68. Mediante una puesta en escena dotada del suspense de Hitchcock, Niemeyer confiere aquí al suelo (normalmente continuo de forma indefinida) una forma, una expansión y un lugar concreto. En principio, todo parece girar en torno al panel curvo del edificio principal, visible desde lejos.
Sin embargo, éste tiene un efecto tan potente porque la mayor parte del solar está sin edificar, al menos en superficie. Desde la Place Coloniel Fabien, un camino por una plaza elevada conduce al visitante hacia una cúpula blanca que parece esconder el edificio. Se nos guía hacia él por la derecha hasta que llegamos donde nos imaginamos que está la entrada del edificio. No obstante, no tiene entrada, sino que una abertura en forma de rendija, situada en el pavimento de hormigón de la plaza, dirige al visitante a las profundidades del terreno. Una vez abajo, el visitante se encuentra de nuevo en un auténtico mundo subterráneo, en una arquitectura invisible, sin horizonte: no hay ninguna ventana ni otra comunicación con el exterior, salvo la sala de conferencias, que ahora se revela como el equivalente subterráneo de la cúpula blanca del jardín. De este modo, privado de la habitual orientación en el espacio, el visitante sigue su percepción motora para descubrir con gran asombro que
se mueve por un terreno cuasi−topológico. En realidad, el pavimento del vestíbulo no es una superficie plana, sino que está animado por unas ondulaciones apenas perceptibles, tan sutiles que primero se notan con los pies y, sólo después, con los ojos: pequeños obstáculos inesperados que interfieren tenazmente en el movimiento del visitante, corrigiéndolo y, por tanto, también organizándolo. Anticipando en parte las ‘superficies líquidas’ del pabellón acuático de Nox, Niemeyer transforma aquí el suelo de una superficie en un espacio plásticamente configurado. Ésta es una obra pionera −hasta ahora poco valorada− para la arquitectura de las décadas de 1980 y 1990, en la que el suelo se convirtió por fin en un objeto primordial de la investigación arquitectónica.
http://www.ggili.com/PDF/DP/879_ES.pdf

Bridges, A.H. & Charitos, D.: The Architectural Design of Virtual Environments, Junge, R. (ed.), Proc. International Conference “CAAD Futures” ’97, Munich, Kluwer Academic Publishers, ISBN-10:0792347269
http://www.media.uoa.gr/~charitos/papers/conf/BRC1997b.pdf

Philip Steadman: The evolution of designs: biological analogy in architecture and the applied arts
http://www.gbv.de/dms/weimar/toc/543621847_toc.pdf

Banham, Reyner: Theory and design in the first machine age
http://books.google.com/books?hl=el&lr=&id=ewPCi4SZC6cC&oi=fnd&pg=PA9&dq=wall+theory+architecture+evolution+design&ots=lgveyEXofx&sig=HxATxuocGa282sZ_2Mq0eRFbgKw#v=onepage&q&f=false

Trovato, Graziella: Des-velos: autonomía de la envolvente en la arquitectura contemporánea, Akal, Madrid, 2007

Aparicio Guisado, Jesús María: El Muro, Kliczkowski, 2005

Operational Walls
This technology seminar will focus on the evolution of the fortified wall and earthwork construction dating back several thousand years and its influence on current architecture & landscape production. The primary topics in this seminar will include utilizing the vernacular landscape as a source for construction materials; examining construction methodologies and phasing for the production of an earthwork and wall assembly; analyzing the relationship between form and functional operation; exploring the danger/safety nature of the double-sided
programmed wall; and dissecting the logic of wall details. Coursework will require a series of analytical sketches, photographic documentation exercises and a final measured project.
http://www.austin-mergold.com/images/Parabellum_Ovaska_A+M.pdf

http://boiteaoutils.blogspot.com/2010/09/oblique-function-by-claude-parent-and.html
http://www.limonlab.com/publications/paulvirilioandtheoblique.pdf

http://periferiadomestica.tumblr.com/tagged/hole/page/2
http://periferiadomestica.tumblr.com/tagged/hole

http://boiteaoutils.blogspot.com/2010/02/james-wines-frozen-paradigms.html
http://sitenewyork.com/frame/index.htm

http://boiteaoutils.blogspot.com/search/label/thematic%20%28UN%29WALL