1900s modernism - texas tech university
TRANSCRIPT
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1900sModernism
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1900 14 18 40 45
ProgressiveEra WWI RoaringTwenties NewDealEra WWII Postwar
23 LeCorbusierTowardsanArchitectureVillaSavoyePoissy,France
24 RietveldSchröderHouseUtrecht,NL
28 MiesvanderRoheBarcelonaPavilionBarcelona,Spain
25 GropiusBauhausDessau,Germany
36 FrankLloydWrightFallingWaterPennsylvania,US
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POSTWAR 50 80 90 2000
46 CharlesandRayEamesCaseStudyHouse#8PacificPalisades,CA
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1950 80 90 2000
60 PierreKoenigStahlHouseCaseStudyHouseno22California
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1966ComplexityandContradiction
RobertVenturi
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1950 60 70 80 90 2000
61 VenturiVannaVenturiHouse
VenturiGuildHouse
POSTMODERNISM
66 Venturi,ComplexityandContradiction
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Modernism><Postmodernism
• Simplicity
• Logic
• InternationalStyle
• Complexity
• Contradiction
• Eclectic/Mannerism/Baroque
• Imageoriented/Panache/Fun
• PlaywithClassicalformsandrules
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VannaVenturiHouse1962‐64,RobertVenturi(1928,‐)
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Modernism><Postmodernism
Mies’dictum
“Lessismore”
Venturi’s
“Lessisabore”
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1950 60 70 80 90 2000
71 Venturi,Brown,IzenourLearningfromLasVegas
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1971LearningfromLasVegasRobertVenturiDeniseScottBrownIzenour(VSBA)
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“Theduckisthatspecialbuildingthatisasymbol;thedecoratedshedistheconventionalshelterthatappliesthesymbol.”LearningfromLasVegas,p.87.
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Modernism><Postmodernism
FunctiondeterminesForm NotFormbutSign
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1966 2000
POSTMODERN I SM 66 RobertVenturiComplexityandContradiction
77 PeterEisenmanPost‐Functionalism
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1977Post‐FunctionalismPeterEisenman
“Modernarchitectureneverhappened!”
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dialecticoppositionsbetweenFunction&Form
1500sHumanism–RenaissanceusedIdealForms
1900sComplexprogramnoconsiderationsofForm
2000Stilltohappen…Modernism…
FORMcanbeseenasaseriesoffragments
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1966 2000
POSTMODERN I SM 66 RobertVenturiComplexityandContradiction
77 PeterEisenmanPost‐Functionalism
82 MichaelGravesACaseforFigurativeArchitecture
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1976ACasefor
FigurativeArchitecture
MichaelGraves
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isgroundedinnature
recognizesgravityandisreadinatotemicoranthropomorphicmanner
andrecognizesarchitecturalelements,e.g.,thereciprocityofplanandwall
FIGURATIVEarchitecture
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LANGUAGE
StandardForm><PoeticFormTechnicalandUtilitarian
Determinedbypragmatic,constructional,andtechnicalrequirements
Abstract
syntax
CulturalandSymbolic
Operatesatthelimitsofconvention
3D‐expressionofthemyths,symbols,andritualsofsociety
PurposefulambiguityMythsandRituals
withinthebuildingnarrative.
Semantics
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1966 2000
POSTMODERN I SM 66 RobertVenturiComplexityandContradiction
77 PeterEisenmanPost‐Functionalism
82 MichaelGravesACaseforFigurativeArchitecture
89 D.PorphyriosTheRelevanceofClassicalArchitecture
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1989RelevanceofClassicalArchitecture
DemetriProphyrios
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“Modernismhasproducedbuildingsbut,asyet,
noarchitecture.”
• TheModernistapproachwasaradicallyrationalisttabularasa,acleanslate:zoning,thecityinthepark,thefree‐standingbuilding,thedisappearanceofthestreet,andthesquare,thedestructionoftheurbanblock.Inshort,itmeantthedestructionoftheurbanfabricofthecity.
or…themathematicalabstractionofthecity
and…theextinctionofsymbolicmeaning
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“Post‐Modernism.”ThePost‐Modernistapproach—Post‐ModernHigh‐Tech,Post‐ModernClassical,Post‐ModernDeconstruction—
differintheirstylisticpreferences,symboliccontentandsocialconstituencies,buttheyshareasimilarscenographicviewofarchitecture…andtheirfascinationwithparody.
Scenographic(theatricalscenery)canbesummarizedinRobertVenturi’sprincipleofthe“DecoratedShed”:
construction(firmness),shelter(commodity),andsymbolism(delight)asdistinctandunrelatedconcerns.
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“Classicismisnotastyle.”
Classicalarchisadialoguebetweenthecraftofbuildingandtheartofarchitecture.
Classicalarchisadialoguebetweenonebuildingandanother.
“TheworldofAlbertiwasdifferent,…,butthegreathumanistthemeofcommodity_firmness_delightwasstillaliveandwillstayalive.”
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“Classicismisnotastyle.
TheClassicalisthatwhich
endures…”
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2.SEMIOTICSandSTRUCTURALISMthequestionofSignification
pp.110‐122
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1977APlainMan’sGuidetothe TheoryofSignsinArchitecture
GeoffreyBroadbentarchitecturaltheorist/critic
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Buildingsaresymbolsandcarrymeanings
Buildings,suchasLeCorbusier’sVillaSavoye,aremagnificentsymbolsofthe1920s
Pevsner:“everybuildingcreatesassociationsinthemindofthebeholder,whetherthearchitectwanteditornot”
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SignsinArchitecture
Pragmatics_UseSyntax_Form
Semantics_Meaning
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pragmatics
• Architecturalpragmaticsconsistoflookingatallthewaysinwhicharchitecture,asasignsystem,actuallyaffectsthosewhousebuildings.
• Architecture“means”somethingtoeachofthesenses.
• Studiesinthephysiological,psychologicalandsocialreactionstothebuiltenvironment
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syntax
Syntaxisconcernedwiththeorderingstructureofsign‐systems.
NoamChomsky’s
SyntacticStructuresdistinguishes Deepstructure generativeandtransformationalrules Surfacestructure
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deepstructure
NP
NPV
VP
NT
NT
surfacestructure
Theboyseesthegirl.
generativerules
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StructuralisminArchitectureEisenman’sHouseIIIstudy‐developedbydividingabasic3x3cubeaccordingtoasetofsyntacticrules.
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semantics
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Saussure:Thesignstandsfor/representsthethingdenoted,formally
unitedbysocialcontract.Signifier(representation)
• Word
• Diagram• Picture• Drawing• Building
SYMBOL‐‐SYNTAX
Signified(thingdenoted)
• Concept• Meaning• AssociationintheMind
MEANING‐‐SEMANTICS
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Symbol(Saussure’sSignifier)
Representations
ConceptIdea
(Saussure’sSignified)
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Referent(actualobject,person,oreventtowhichoneis
referring)
Building
Symbol(Saussure’sSignifier)
Representations
Concept(Saussure’sSignified)
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3.POSTSTRUCTURALISMANDDECONSTRUCTION
p.141‐197
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1980 60 70 80 90 2000
POST S TRUCTURAL I SM & DECONSTRUCT ION 86 DerridaArchitecturewhereDesirecanLive
81 TschumiLimitsI,II,IIIParcdelaVillette
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1986Architecturewhere DesirecanLive
JacquesDeridaphilosopherliterarycritic
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• Descartes’DiscourseonMethodemploysarchitecturalimagessuchasfoundations,towns,building,etc.
• Aristotle’sarchitecton.Architectonicsisdefinedasanartof(ordering)systems,asanartthereforesuitablefortherationalorganizationofcompletebranchesofknowledge.
Philosophersusearchitecturalmetaphors
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• Architectureisthought(concept)notrepresentation(drawings).
• Architectureisontheway(thinkpath);itisnotamethod.
• Relationbetweensignandmeaningisrestrictive
astoArchitecture
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Derida’sMetaphors
TowerofBabel><Labyrinth
UniversalLanguage
Incomprehensibilityoflanguage
DiversityofLanguages
Unintelligiblespatialcondition
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DeridaonArchitecture
Architecturewillalwaysremainlabyrinthine.Theissueisnottogiveuponepointofviewforthesakeofanother,whichwouldbetheonlyoneandabsolute,buttoseeadiversityofpossiblepointsofview.
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Derida’sArchetypes
Pyramid
• Representsthetheoretical,linguisticaspectsofarchitecture
Labyrinth
• Representstheexperiential,sensoryaspectsofarchitecture
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DeridaonArchitecture
Perhapsthereisnoarchitecturalthinking.Butshouldtherebesuchthinking,thenitcouldonlybeconveyedbythedimensionoftheHigh,theSupreme,theSublime.
Viewedassuch,architectureisnotamatterofspace
butanexperienceoftheSupremewhichisnothigherbutinasensemoreancientthanspaceandthereforeisa
spatialisationoftime.
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1980‐81 ArchitectureandLimitsI_II_III
BernardTschumi
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Tschumiadvocatesresisting
“thenarrowingof
architectureasaformofknowledgeintoarchitectureasmereknowledgeofform”
Formalism
“toreduceandlimitarchitecturaltheoryandcriticismtoideologiessuchasformalism,functionalismandrationalism”
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Tschumi’sArchitectureandLimits2
Venustasattractiveappearance
Utilitasappropriatespatialaccommodation
Firmitasstructuralstability
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Tschumi’sArchitectureandLimits2
Languageconceived
Bodyperceivedevent
Matterexperienced
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Tschumi’sArchitectureandLimits2
“thematerialityofarchitecture…isinitssolidsandvoids,
itsspatialsequences,itsarticulations,
itscollisions”
Bodiesconstructspacethroughmovement Choreographicaspectofthebody’sexperience
Cinematic_tostressmovementanditstemporaldimension
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Tschumi’sArchitectureandLimits3
• Gaudet:“Anarchitecturalprogramisalistofrequiredutilities;itindicatestheirrelations,butsuggestneithertheircombinationnortheirproportion.”
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Tschumi’sArchitectureandLimits3newdefinitionsofthearch.program
ProgramwasadeterminantofForm19thComplexityofProgram(seeEisenman)
20s‐50sSocialReformoftheModernists 30s‐50sTechnologicalInnovations
NOW‐ThereisNoCausalrelationbetweenProgramandFormProgramisreplacedbyPerformanceorEventAneventhappenswhensettingupanhabitableplace.Thetakingofplaceinspaceisinfacttheprimaryquestionof
architecture(seeDerida).
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8.POLITICALANDETHICALAGENDAS
pp.370‐410
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1975 80 90
POLITICALANDETHICALAGENDAS75 HarrisTheEthicalFunctionofArchitecture
84 GhirardoTheArchitectureofDeceit
92 McDonoughTheHanoverPrinciples
93 Design,Ecology,Ethics…
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1975TheEthicalFunctionof Architecture.
KarstenHarries
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1975TheEthicalFunctionofArchitecturebyKarstenHarriesLossofplaceandcommunity
Phenomenologicalcritique:
Architecturehasbecomepartofatechnologicalculturethatdemands(Corbusian)”machinesforliving”insteadof(Heideggerian)“dwellings”.
Architecture'sethicalfunctionistoarticulateandestablishtheethos,topermithumankindtodwell.Involvethebodyandhumanscaleinarchitecture,allowfor‘heterogeneityandboundaries’,andcreateadistinctiveplace.Architectureistoexpressthe‘character’ofaplace,neighborhood,andregion,andshouldestablish‘unity’.
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1984TheArchitectureofDeceit
DianeGhirardo
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1984TheArchitectureofDeceitbyDianeGhirardo
• “Isarchitectureanartoraservice?”
• “Whydoesarchitecturenotconfronttherealissuesinthedisciplineandintheworld?”
• “Whydoesittrytoremain“pure”?Whatisbeingconcealed?”
• Architectsshouldgetinvolvedwiththesocio‐politicalissues.
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1992TheHanoverPrinciples
WilliamMcDonoughArchitects
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HanoverPrinciples
• Broadethicalguidelines‐‐ideals‐‐forsustainabledesign.
• Firstpresentedatthe92‐EARTHsummitinRioDeJaneiro
• Standardsforthemillennial94‐World’sFairinHanover,Germanyunderthetheme—Humanity,Nature,andTechnology.
• Life,nature,…
• EnergyandWaste…
• Recycling,reuse,reassemble,…
• Increasingknowledge,interdisciplinaryproblem‐solving
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HanoverPrinciples
1. Insistonrightsofhumanityandnaturetoco‐existinahealthy,supportive,diverse,andsustainablecondition.
2. Recognizeinterdependence.
3. Respectrelationshipsbetweenspiritandmatter.
4. Acceptresponsibilityfortheconsequencesofdesigndecisions.5. Createsafeobjectsoflong‐termvalue.
6. Eliminatetheconceptofwaste.
7. Relyonnaturalenergyflows.
8. Understandthelimitationsofdesign.
9. Seekconstantimprovementbythesharingofknowledge.
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1993Design,Ecology,Ethics, andthe MakingofThings.
WilliamMcDonough
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1994Design,Ecology,Ethics,andtheMakingofThings• Mass(wallsofJericho)providesthermalinertia.
• Themembrane(Bedouintent)does5thingsatonce:shade,ventilation,diffuselight,waterresistant,transportable
• Today,moreaboutbuildingthanaboutpeople.
• Poorindoorairqualityduetothousandsofchemicals.
• Designshould“workwithlivingmachines,notmachinesforlivingin”
• Focusonpeople’sneeds,cleanwater,safematerials,anddurability,andsolarenergy.
• And…
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12.TECTONICEXPRESSION
pp.494‐528VittorioGregotti
MarcoFrascari
KennethFrampton
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1980 90 2000
TECTONICEXPRESSION83 GregottiTheExercisofDetailing
84 FrascariTheTell‐theTaleDetail
90 FramptonRappelal’OrdretheCasefortheTectonic
CarloScarpa
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1983TheExerciseofDetailing
VittorioGregotti
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1983TheExerciseofDetailingbyVittorioGregotti• InterestinMaking:
TadaoAndo,JuhaniPalasmaa,Morphosis,FrankIsrael,StephenHall,MarioBotta.
• Constructionasanarrativeofamaterialbecoming.• “Architecture(notbuilding)residesinthedetails.
Detailingdemonstratestheattributesofmaterialsthroughapplicationofthelawsofconstruction;
itrendersdesigndecisionsarticulate.”• Detailscanprovidemeaningfulornament
wronglysoughtnowinpastiche.• Detailingshouldberesituatedas
anessentialarchitecturalproblem.• Thetectonicexpressionofarchitectureiscapableofenhancingthe
sensualandintellectualexperienceofbuilding.
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1984TheTell‐the‐TaleDetail
MarioFrascari
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1984TheTell‐the‐TaleDetailbyMarioFrascari• MeaninginConstruction
• TheJOINT‐‐theoriginaldetail‐‐thegeneratorofconstruction,andthusofmeaning.
• Thejointistheplaceofinnovationandinvention.• Thejointcanimposeitsorderonthewhole.
• Thejointistheminimumunitofsignificationwithinthearchitecturalproductionofmeaning.
• CarloScarpa’sadorationofthejoint‐”eachdetailtellsusastoryofitsmaking,ofitsplacing,ofitsdimensioning.”
• Semiotics(studyofsignsandsymbolsandtheirmeanings):Constructing(detailsandmeaning)&Construingmeaning.
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1990Rappelàl’ordre, theCasefortheTectonic.
KennethFrampton
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1990Rappelal’ordre,theCaseoftheTectonicbyK.Frampton• Morethanmerespatialinvention,
buildingisfirstanactofconstruction,atectonicnotascenographicactivity.
• Ontological‐NatureofBeing• Scenographic‐Representation• Tectonic‐Actofmakingandrevealing
• “Thestructuralunitistheirreducibleessenceofarchitecturalform”
HeavyMassversusLightFramesopposites EarthversusSky SolidityversusDematerialization
Ref.SemperandLaugier