Book of Synthesis
Art in Architecture: from Constructivism to Deconstructivism
ATP | Architecture Theory and Practice | Professor Ivica
Covic | Politecnico di Milano, Scuola di Architettura e SocietĂ | Course of study Architecture. Students: Claudia Scaravaggi (822934), Matilde Valagussa (834113), Laura Zura-Puntaroni (833601), Cherie Lulu Shimris (833850), Nadezhda Safronova (832804).
PROCESS
Avangard art
Italian futurism
Suprematism Constructivism -Malevic
- Terragni - Cattaneo - Sant Elia
- Tatlin - El Lisitzkiy
Constructivist architecture - Ivan Leonidov - Melnikov - Ginzburg
Deconstructivist architecture - Tschumi - Kolhaas
- Libeskind - Gehry
De Stijl. Bauhaus - Mondrian - Gropius - Ritveld
Soviet modernism - Somov - Vasilevskiy
- Hadid
Deconstructivist theory - Derrida
Digital approach - Asymptote - Coop Himme(l)bau
Relations of surfaces
Proportions
Contrast
Relativity Colors
Pure forms Movement
Composition
“Архитекторы (как и многие наши соотечественники) в послереволюционные годы восприняли идею социализма и коммунизма как выстраданную человечеством мечту о социальной справедливости. В поисковых разработках новых в социальном отношении поселений и зданий не существовало никаких ограничений. Наоборот, социально-экономические процессы в стране и требования революционно настроенных масс (социальный заказ) опережали самые смелые мечты архитекторов.” Хан Магомедов. Пионеры советского дизайна, 1995
CONSTRUCTIVISM
Yakov Chernikov, Composition 1927-33
Ivan Leonidov, Lenin Institute, 1927
“Leonidov fu il cantore della “semplice” forma geometrica. Egli non soltanto rivelò la bellezza e le possibilità del tradizionale corpo architettonico purificato da ogni stratificazione decorativa e figurativa, ma creò anche nuovi volumi, costruendo così una propria architettura. E’ vero che la “semplice” forma geometrica era stata utilizzata anche prima di Leonidov, ma egli seppe trasformala nell’elemento portante della soluzione espressiva.” Ivan Leonidov 1902, 1960, Alessandro De Magistris
- AA.VV., Una città possibile. Architetture di Ivan Leonidov 1926, 1934, Electa, 2007 - De Magistris A., Ivan Leonidov 1902, 1960, Electa, 2009 - Gozak A., Ivan Leonidov-The complet work, Rizzoli, 1988.
Ivan Leonidov
Asymmetry
Structure
Envelope
Relativity Fragmentation
Disjunction Formalism
Representation
“La decostruzione permette di rilevare che le determinazioni opposizionali (natura/cultura, storia, tecnica; sensibile/ideale; segno/significato; scrittura/pensiero; finito/infinito) che costituiscono il campo della “metafisica della presenza” non sono semplicemente speculari, ma gerarchicamente organizzate: un termine prevale sempre sull’altro -l’opposto- per occultare, reprimere, rimuovere, eludere la loro relazione irriducibile, e quindi la possibilità stessa di un’elaborazione differente del campo concettuale.” Adesso l’architettura, Jacques Derrida
DECONSTRUCTIVISM
Duchamp, Fountain 1917
Peter Eisenman, Memorial 2004
“Il modello, al di là del fatto di essere un semplice mezzo di rappresentazione può anche mettere in discussione il rapporto osservatore-oggetto. Con i suoi tre assi esso sollecita la questione della natura della realtà, dell’oggettualità dell’edificio reale, ed assume il valore di critica del disegno in quanto rappresentazione. Il modello rappresenta una serie di diagrammi di trasformazione, l’elemento architettonico non è risultato di un processo, è esso stesso ad essere il processo di trasformazione.” La fine del Classico, P. Eisenman
- Eisenman P., La fine del classico, Mimesis, 2009 - Inside Out. Scritti 1963-1988, Quodlibet, 2014 - Choral Works, The Montacelli Press, 1997
Peter Eisenman
B. Tschumi, Manhattan Transcript 1976
B. Tschumi, Parc de la Villette 1982
“I believe certain components to be irreducible from architecture: space, event and movement. My ambition, even in the theoretical work has always been architecture. To remove the question of space eliminates the possibility of architecture. [...] Typologies, morphologies, spatial compressions, logical constructions, all dissolve. Inarticulated forms collide in a staged and necessary conflict: repetition, discontinuity, quotes, clichés and neologism. Such architecture is perverse because its real significance lies outside any utility or purpose, aimed at giving pleasure.” The Manhattan Transcript, Bernard Tschumi
- Costanzo M., Bernard Tscumi: L’architettura della Disginzione, Torino, 2002 - Damiani G., Bernard Tscumi, Milano, Rizzoli, 2003 - Tschumi B., The Manbattan Transcript, New York, St. Martin’s Press, 1981 - Architecture and disjunction, Cambridge, MIT Press, 1996
Bernard Tschumi
RenéChristiane Magritte, Feser, Elective affiniries Konstruct 86 1933 2012-13
OMA, congrexpo, Lille Rem Koolhaas, Casa da Musica, 1991 2005
“OMA’s projects constitute bodies rather than objects. No more ideal forms but instead their deformations. As such they are no longer governed by measures of proportion, which were perhaps the basic instrument of classical modernity, but rather constitute deformed entities of topological relationships of connections adjacencies of distansies.” The Meaningless Popularity of Rem Koolhaas, Anna Klingmann
- Frances HSU, The Operative Criticism of Rem Koolhas, Georgia Institute of Technology, pp. 380-385 - Koolhas R. and Mau B., Office for Metropolitan Architecture: Small, Medium, Large, Extra- Large, Edited by Jennifer Sigler, 010 Publishers, Rotterdam, 1995
Rem Koolhaas
Zaha Hadid, Station Design, 1993
Zaha Hadid, Vitra Fire Station, 1993
“One of Hadid’s most audacious moves was to translate the dynamism and fluidity of her calligraphic hand directly into equally fluid tectonic systems. Another incredible move was the move from isometric and perspective projection to literal distortions of space into fragments, from the superposition of various fisheye perspectives to the literal bending and meltdown of space etc. The level of experimentation reached a point where the distinction between form and content within these drawings and paintings was no longer fixed.” Digital Hadid, Patrik Shumacher
- Betsky A., Zaha Hadid- The Complete Buildings and Projects, Thams& Hadson, London, 1998 - Schumacher P., Digital Hadid- Landscape in Motion, Brikhauer, Basel, 2004 - Woods L., Drawn into Space- Zaha Hadid, Jhone Wiley& sons, 2008
Zaha Hadid
Lebbeus Woods, 9 Boxes, 1999
Asymptote, Millennium Tower, 2009
“How to create a place that is indeed real but that has all the effects, influences and power we find in digital means, be it animation, digital fabrication, or a kind of digital delirium we are interested in. This is an experimental piece I refer to as an “architectural wind tunnel”, where we try to produce certain kinds of effects and attitudes in real architectural space. Something that is inspired by video, by film, by computer but that ultimately is a real physical piece that exists as a model for possible architectural works.” Asymptote, Architecture at the interval, Hani Rashid
- Couture L.A., Rashid H., Flux, Phaidon Press, 2002 - Rashid H., Asymptote, Architecture at the interval, Rizzoli International Publica-
Asymptote
MANIPULATION
PARC DE LA VILLETTE Bernard Tscumi
Rem Koolhas
Peter Eisenman
Walls of Paris Strips Slaughterhouse
Surfaces Confetti
Grid of Cannaregio Project
Points Access and Circulation lines
Tschumi’s Points Installations Scaling
Rem Koolhaas
“For Koolhaas, architecture has much to do with the accompanying action, the program. For Koohaas program is much more diffuse and much less directly related to the architecture that is to be built. He sums up the contradiction between program and architecture by calling for “a maximum of program and a minimum of architecture, where there is nothing, everything is possible. Where there is architecture, nothing(else) is possible.”” Theorical anxiety and design strategies, Rafael Moneo
Peter Eisenman
“Eisenman has introduced an important idea from generative, or trasformational grammar, in which language is sen as a generative activity rather than as a description of semantic and syntactic relationships. In this view of language, syntactics takes on a new meaning where syntactic structure itself is sen as the primary generator of language. Eisenman incorporates this concept into architecture because it helps him to account for what he sees as a similar process of synthesis in architecture, the process of the generation of architectural form.� Theorical anxiety and design strategies, Rafael Moneo
RE-ELABORATION
“Any relationship between a building and its users is one of violence, for any use means the intrusion of a human body into a given space, the intrusion of one order into another. This intrusion is inherent in the idea of architecture; any reduction of architecture to its spaces at the expense of its events is a simplistic as a reduction of architecture to its facades.” Architecture and disjunction, Bernard Tschumi “To Koohlaas, the Parc de la Villette was something that didn’t have to have anything to do with axes nor with figures. Instead he envisioned activity areas defined by bands. These bands would in turn be activated by specific catalysts, an this is where the architect’s job lay. There is no form. Instead we are offered a catalog of activities that are to be concretized by potential points of encounter. As these points of encounter can serve to define structure, which will then be given some physical entity: the network of paths and communications. The idea of design as a virtual program of activities, as an oppurtunity to establish the availability and flexibility of spaces and not as a static definition of form.” Theorical anxiety and design strategies, Rafael Moneo “La caratteristica di un’architettura “non classica” è la sua libertà da scopi e fini a priori. La fine del classico significa anche la fine del mito della fine come un effetto carico di valore del progresso e della direzione della storia. Con la fine della fine, quello che era il processo di composizione o trasformazione cessa di essere una strategia casuale, il processo diventa di “modificazione”, non dialettico, non orientato verso uno scopo. Un’architettura “non classica” coinvolge l’idea di un lettore conscio della propria identità, piuttosto che l’idea di un “utente-osservatore”. In questa situazione, il linguaggio non è più un codice per assegnare dei significati. L’attività di lettura è innanzitutto e soprattutto il riconoscimento di qualcosa come linguaggio.” La fine del classico, Peter Eisenman