A critical approach to narmanli han as a tectonic object

In architecture, tectonics has many interpretations, but the significant definition that the paper will focus on is the art of construction concerning the use of science and artistic design. It adopts the art of construction to have art forms rather than the activity that pays attention to material necessity, construction that meets needs. This thesis arose in response to illuminate postmodernism's social conditions and architectural manifestations, such as the trend toward scenographic representation, described as a form of artwork used in structural design—both in image representation and artisanship. That can help in having buildings more related to their construction by balancing the pure representation and the structure of the building. This thesis will discuss the internal and external references of the building. It tries to establish the perspective of looking at architecture as a thing. That idea developed in two ways: first, the building's tangible references, its place within its surroundings (physical, economic, social, political); second, its intangible references, or the building itself as a bearer of properties. This thesis will address tectonics first by discussing its relationship with intangible references; second, by tracing a brief timeline of tectonics evolution; third by explaining the diverse ways of tectonics expressions and representations and finally by shedding light on a few tectonic objects. Four of those tectonic objects will be adopted to analyze one of the Italian architect Giuseppe Fossati's 19th -century masterpieces Narmanli Han. According to v this study, the observer will figure that tectonic objects may profoundly impact eternal values with changes over time.