Accusativus by Maarten De Smet

T H E

L E A D I N G

O B J E C T

T H E

L E A D I N G

O B J E C T

Maarten De Smet KU Leuven Faculty of Architecture Ghent 2018-2019

Thanking: Thierry Lagrange (promotor) Jo Van Den Berghe (co-promotor) Eva Beke & Louise De Brabander (PhD-researchers) Bart Merlier - CĂŠline De Clercq (mentors) My family and friends and my fellow students.

ABOUT GENDER I.

Introduction

9-11

II.

Gender a construct

13-21

III.

Gender in Architecture

23-29

IV.

The perception

31-35

TOWARDS SPACE V.

The narrative

VI.

The spaces

37-41

The Pyramid (Temple of desire)

43-51

Labyrinth

53-61

Fountain

63-69

The plinth - The landscape

71-73

BIBLIOGRAPHY

INTRODUCTION

ccusativus refers to the latin term “accusativus cum infinito” and describes the direct object. In dutch it’s called “leidend voorwerp” or translated literally “leading object”. It’s also an ambiguous word when used in dutch conversations and can only be understood correctly due to the context it’s put into. The word can refer to conducting or directing but it can also signify enduring or suffering. Both definitions of the therm were relatable to the gender thematic and it defined more specifically which aspect of the problem I wanted to work around. For me the impact of gender on space has informed me how to perceive it rather than searching to eradicate problems founded by heteronormative standards.

ings with a different attitude and how in some ways I was affected and constrained in an (un)conscious manner.

My interests in gender started early on my master education. From my own perspective I was not perceived as a typical male because of my sexual preference. It gave me another view on how to perceive my surroun-

With gender I hope to explore the option where we get to choose our own path and where we leave the track to discover our own story. My architecture is a mapping of my own inspirations, fascinations and associations in a symbolic manner.

Gender is about the freedom of expression in a personal yet explorative way. It is not fixed because it always searches for new ways to connect substances and people’s relationships trough translation, representation, confirmation and identity. Although it is not always physically apparent, we identify in many aspects with matter in a personal dialogue. For me this translates to architecture as exploring a narrative. A constant dialogue between people and matter. And it is a personal story of searching for confirmation in space through identity by association

GENDER A CONSTRUCT

ORLANDO - ADVENTURE PICTURES (1992)

n 1955 the term gender was introduced as “ the distinction between biological sexes and gender as a role". This role is filled in by the person themselves in relation to their environment. Later on terms like gender expression, gender performance, etc. informed more about the nature of how gender could be experienced by different persons in different social environments.1

The ideas about gender performance have been challenged over the years. Gender as an expression rather than biological constraints connected to the sex at birth, may be questioned most by those whom the “system” fails.

Ever since the enlightenment there have been already many attempts to address the issue of gender as described by Virginia Woolf’s book - Orlando, Marlene Dietrich’s androgynous appearance, Felicien Rops Pornokrates and Pierre-Narcisse Guérins Morpheus & Iris painting. The interest in androgynous appearances was fueled by the renaissance admiration to Greek mythology and architecture. A society which was based on the admiration on natural phenomena and human characteristics which where personified into the Gods of Olympus.2

Sally Hines, “The big idea - Is Gender Fluid? : A primer for the 21th century” (Thames & Hudson, 2018)

Emma Stafford , “Worshipping Virtues. Personification and the Divine in Ancient Greece”; p.1-44 (Classical Press of Wales, 2000)

Morpheus, the god of the dreams, would be pictured as androgynous for he could appear as anything in the realm of dreams.

MORPHEUS & IRIS, PAINTING BY PIERRE-NARCISSE GUÃ&#x2030;RIN (1811)

On a trip to London, I came across a book about gender fluidity which is called “Is Gender Fluid?”. This collection of gender studies explained the variety of views on gender without a final conclusion being formed. It suggests that when gender would be reimagined it is most likely to be portrayed as a spectrum rather than a classification.

Cisgender3 men and women, as well as trans and non-binary people, can find that their options are restricted by social expectations about what roles they can perform …

Although gender operates as a structuring device that limits the lives of women, men and non-binary4 people, it also operates as a site of agency in which individuals or groups can work to reshape their gendered practices, impacting changing understandings of gender.

Cis-gender people experience their gender identity as given by birth and within a heteronormative society. Heteronormative standards are what society projects as a “normal” heterosexual living pattern.

Non-binary people experience there gender as fluid and not consistent associations can be made with queer, genderqueer, non-conforming, gender fluid, etc.

RAIN DOVE - androgynous

BOY GEORGE - eclectic

MARLENE DIETRICH - non-conforming appearance

Gender in Architecture

ALICE IN WONDERLAND - THE WALT DISNEY COMPANY (1951)

ithin architecture only a few examples were found where gender was implemented as a design philosophy. Nonetheless one of the most early associations between architecture and gender can be found in the 10 books on architecture by Vitruvius. In the first and third book he describes the relationship between the anatomy of mankind in relation to the classical orders in architecture. The anthropomorphic proportions would later on be used and adjusted by Leonardo Da Vinci’s Vitruvian man, Le Corbusier’s modulor, etc.5 Later on John Shute would associate the personification and characteristics of greek mythology with the classical orders as drawn in his book “The First and Chief Grounds of Architecture” This example shows us the Doric order as Herakles the ionic order as Hera and the Corinthian order as Aphrodite.6 This type of association between building elements and their proportions is not something we often use, in the 21st century, because of standardization by many known as the Neufert.

Frank Zöllner, “Anthropomorphism: From Vitruvius to Neufert, from Human Measurement to the Module of Fascism”; p.51-59 (Berlin, 2014)

Scott Drake, “Anatomy and Anthropomorphism: Architecture and the Origins of Science”; p.15-20 (Edinburgh Architecture Research, 2000)

The male / female associations we would find back in modern architecture would be more specified on material characteristic then proportion. Personally this seems more like an artificial approach to me when we compare this to the classical orders. Another common theme within modern architecture was the association between social hierarchy and occupation. Ornamentation as described by Adolf Loos was associated by the feminine appearance and was not fit for a modern lifestyle. Women had to be liberated from their chores so they would have more time to be cultivated.7

Mary McCleod, “Undressing Architecture: Fashion, Gender, and Modernity,” & Mark Wigley, “White Out: Fashioning the Modern,” both in Architecture: In Fashion, ed. Deborah Fauschet al. ; p.38-123 and 148-268 (New York: Princeton Architectural Press, 1994)

Oscar Niemeyer

â&#x20AC;&#x153;

It is not the right angle that attracts me, nor the straight line, hard and inflexible, created by man. What attracts me is the free and sensual curve. The curve that I find in the mountains of my country, in the sinuous course of its rivers, in the body of the beloved woman.

JACQUES-FRANÃ&#x2021;OIS BLONDEL - Anthropomorphism (1771)

JOHN SHUTE - Anthropomorphism (1563)

the Perception

PEPPER LABEIJA - PARIS IS BURNING (1990)

ender can be perceived as an individual story. It is about expression, identity and acceptance. Thatâ&#x20AC;&#x2122;s why many people define themselves in relation to their own environment. Hence gender becomes relatable through associations and experiences. With these I want to create spaces that reflect my search within the theme and give myself the opportunity to search for relationships between space and perception. It is through that perception that we are able to associate with matter. Personally using gender opens the possibility of searching to find the most apparent connection between elements in proportion and relationship to each other. The metaphorical meaning of spaces and associations create a new layer on top of the design of architecture that informs us on how the space interacts with us and with others. In search of our own architectural space we look for endorsement through associations.

This collage refers to the multitude of gender associations I have been surrounded with. The caryatid supporting the same structure as the steel columns. Where steel refers to masculinity within modern architecture.8 The relationship between the doric (male) order and that steel structure. And the house Robert Venturi build for his mother where she is placed in the frieze. The place where the narrative of the temple is placed. 8

Joel Sanders, â&#x20AC;&#x153;Stud: Architectures of Masculinity - Dressing wallsâ&#x20AC;? (Princeton Architectural Press, second edition, 1998)

the Narrative

Illustration HYPNEROTOMACHIA POLIPHILI - FRANSCESCO COLONNA

When I started to think about a subject for my master thesis I was searching within myself to find a subject I would work around throughout my entire process. After being confronted with gender, as a subject surrounding me everywhere, I’ve started reading more about it. I came to understand that my personal views on the subject weren’t always portrayed throughout the research that was already investigating the matter. In searching for an expression of my views on the subject through architecture I’ve stumbled upon many obstacles making the subject itself not applicable enough to explain the narrative I had envisioned. The idea behind gender is not new but the subject and matter is under constant changes. That made it hard to grasp but not less valid to work with. The struggle within the design process was similar to the one I had about defining and explaining this “gendered space”. The narrative that me grasping the of gender needed fine architure in a

needed to help complex aspects to help me demetaphorical way.

Therefore I went with the story Hypnerotomachia Poliphili by Francesco Colonna. It’s a story about finding love in a dream where the narrator and main character Poliphilus goes on an adventure to find his beloved Polia.

Hypnerotomachia Poliphili describes every space Poliphilus goes to with such detail as if you would stand in the space itself. As he goes along, Poliphilus identifies himself with the spaces, the construction, the details and the landscape in a metaphorical way related to his love for Polia. Eventually he will find his beloved and loose her moments afterwards. His journey continues until he has to make a choice out of three portals (Vita Contemplava, Vita Voluptuaria and Vita Activa). Vita Contemplava is the way of contemplation or the search for endorsement through regulation, theology, … Vita Activa leads the way to a path of constant renewal in order to “fix” the past. The last portal is called Vita Voluptuaria which Perez Gomez described as “the absence of fulfillment as a ground of meaning”9. Eventually Poliphilus will choose vita voluptuaria and will be reunited to his beloved.

9 Alberto Perez Gomez, “The dark forest revisited - On Hypnerotomachia Poliphili”; p.17-19 (The MIT Press, 1994)

The story ends with Poliphilus waking up and concluding his beloved was a trick of his imagination leaving a narrative after his awakening. This story would function as the backbone for the design process with associations to my own perception on some of the spaces he had encountered. Throughout the story most spaces are described in detail but it still leaves space for personal interpretation. Therefore I was able to keep on searching aspects of gender in relation to the book that would serve as inspiration.

GIOVANNI PAOLO PANNINI - GALLERY OF VIEWS OF MODERN ROME (1759)

The spaces - the Pyramid (Temple of desire)

Illustration HYPNEROTOMACHIA POLIPHILI - FRANSCESCO COLONNA

One of the first spaces Poliphilus encounters are the pyramids. He describes one of them by describing the plinth, the staircase inside the structure and the obelisk with statue on top of it. After the description of the exterior he searches for a way inside. There are two entrances, one in the middle leading to the staircase and one on the right hand side. This second entrance has been decorated with the head of Medusa referring to Greek mythology as “the lady with the serpent hair”. Within the book both entrances are being described almost simultaneously with both narratives mixed. Leaving the reader confused which door he entered.

Let us return then to the huge Pyramids, standing upon a strong and sound plinth or four square foot, fourteen paces in height, and in length six furlongs, which was the foundation and bottom of the weighty pyramids, which I persuaded my self was not brought from any other place, but even with plain labour and workmanship hewed out of the self same mountains, and reduced to this figure and proportion in his own proper place.10 In the book the Pyramid functioned as the starting point of the story before Polyphilo's journey started. He sees three of them across the horizon and when he gets nearby one of the pyramids he finds himself enclosed between 2 mountains. It’s the first space in the story that I relate to the state of contemplation. The space with its monumental proportions makes the spectator feel overwhelmed. The pyramid’s most important function in the story is direction. Because of its scale it stands out in-between the mountains and guides him into this unknown world he is stranded in. Despite the buildings exuberant appearance, through the details and this unique vantage point on top, the space will not be able to charm Poliphilus even after climbing all the way to the top.

And the aforesaid entree cut out of the firm stone, led to the 10

Francesco Colonna, “Hypnerotomachia Poliphili : The strife of love in a dream”; p.9

scale and compassing passage in the center, with winding steps tending to the highest part of the stately Pyramids11 When thinking about gender this part of the story relates to a predetermining construction within the heteronormative patriarchy. It portrays a difficult climb to the top where you will be rewarded with an extraordinary view by following the steps. But the unilateral view on growth and exploration is being translated to a predetermined construction where you search to get beyond in order to find your own relation to the space. By searching for your own path the narrative shifts personally depending on the choices you make. The pyramids height is divided into several levels. The levels divide the space gradually and function as resting spaces. The height of the levels depend on the order of the relationship to the surroundings and my own anthropomorphic proportions. They are stacked on top of each other depending on their strength and mutual proportions. Gradually each pillar decreases in width and height when climbing to the top of the pyramid. When you arrive at the last level you’re only able to see the sky. The narrative continues when you descend the pyramid again where you’re confronted to choose again to enter the next space or to enter the gallery that leads to an exit at the South side of the pyramid.

Francesco Colonna, “Hypnerotomachia Poliphili : The strife of love in a dream”; p.9

Groundplan HÃ&#x201D;TEL NATIONAL DES INVALIDES PARIS (1671)

Section PANTHEON ROME DEZGOTETZ (1695)

GIOVANNI BATTISTA PIRANESI - VEDUTA DELLA PIRAMIDE (1760)

GIOVANNI PAOLO PANINI - ST. PETERâ&#x20AC;&#x2122;S ROME (1742)

The spaces - the Labyrinth

Illustration HYPNEROTOMACHIA POLIPHILI - FRANSCESCO COLONNA

In search for Polia, Poliphilus meets Queen Eutherillida.

And there, considering the displeasing title, they curse the time of their entrance into the Labyrinth, which had in it so many sundry delights, and the end of them subject to such miserable and inevitable necessity.12 In this part of the story Poliphilus went on his journey losing faith in his search for his beloved. On the invitation of the queen he wanders around in the gardens with her. She leads him into her three gardens. A garden of silk, a garden of glass and a labyrinth. The labyrinth was chosen for its associations as a space of velocity, distance and barrier. It’s a state of mind when you are searching to find a way out. At some point you keep on searching just because it seems the only logical way to get out.

Francesco Colonna, “Hypnerotomachia Poliphili : The strife of love in a dream”; p.69

In terms of gender this space relates to a state where you’re in search for your identity and get lost into the search itself. This is a space that was also described by Virginia Woolf in her book Orlando as a House with 365 chambers and 52 staircases. Orlando returned to his house each time he had to re-evaluate his life and make a decision13. The house in Virginia Woolf’s book is as much as a labyrinth as it is a resort to escape reality. The labyrinth serves both the purpose of a utopia as a dystopia. The constant search relates to a utopia (vita activa - the path of ratio14) or the manner of escaping through searching. The idea of imprisonment and being trapped makes it a dystopia. By integrating the labyrinth into the Pyramid it serves as an intermediate space connecting different stories of the pyramid with the fountain. It demands a constant dialogue between the spaces and the contrasting ambience they represent.

Virginia Woolf, “Orlando”; p.68 (Penguin Classic, 2000)

Alberto Perez Gomez, “The dark forest revisited - On Hypnerotomachia Poliphili”; p.17-19 (The MIT Press, 1994)

XAVIER CORBERÃ&#x201C; - RESIDENCE

TOWER OF BABEL - PIETER BRUEGEL (1568)

ADOLPHE APPIA - DRAWING (1862-1928)

The spaces - the Fountain

Illustration HYPNEROTOMACHIA POLIPHILI - FRANSCESCO COLONNA

At the fountain five nymphs show up to Poliphilus. They represent five virtues impuls, fantasy, remembrance, reason and will.15 At a certain point, Offresia, one of the nymphs, confronts Poliphilus with his state of mind and in which way he looks upon his beloved.

Then Offresia a very pleasant disposed piece, said onto me. Tell me young man what is your name? And I reverently answered them, Poliphilus: it will please me well said she, if the effect of your conditions be answerable to your name. And without deceit, said the rest. And how is your dearest love called? Whereat I making some pause, answered, Polia: then she replied. Aha I thought that your name should signify that you were a great lover, but now I perceive that you are a lover of Polia: and presently she added more, saying: if she were here present, what would you do?16

Francesco Colonna, “Hypnerotomachia Poliphili : The strife of love in a dream”; p.39

Francesco Colonna, “Hypnerotomachia Poliphili : The strife of love in a dream”; p.42

Confused, but with the help of two nymphs, Poliphilus meets Polia. She first appears as another nymph that guides him to the temple of Venus Physizoa where the nymph turns into Polia through different rituals.

I know not, neither where I am my self I know.17 The fountain represents a moment of clarity and reflection. The water puts the person in observation with itself. It’s a place where personal perception prevails. This space relates to myself through my own anthropomorphic proportions. Where I become a subject to my surroundings. This is the only place on the mountain where the water goes in the opposite direction of gravity a metaphoric reference to swimming against the stream.

Francesco Colonna, “Hypnerotomachia Poliphili : The strife of love in a dream”; p.42

- the plinth - the landscape

Joining all these spaces is the plinth. This space creates a platform for both the pyramid and the fountain in relation to the typography. Which makes it possible for both spaces to be separated in some ways from the landscape by reshaping and interacting with it. The landscape, a steep hill in-between mountains, was described by Poliphilus in the book. Itâ&#x20AC;&#x2122;s the place where he first got to see the pyramid and his journey started. 72

Bibliography:

Sally Hines, “The big idea - Is Gender Fluid? : A primer for the 21th century” (Thames & Hudson, 2018) Emma Stafford , “Worshipping Virtues. Personification and the Divine in Ancient Greece”; p.1-44 (Classical Press of Wales, 2000) Frank Zöllner, “Anthropomorphism: From Vitruvius to Neufert, from Human Measurement to the Module of Fascism”; p.51-59 (Berlin, 2014) Scott Drake, “Anatomy and Anthropomorphism: Architecture and the Origins of Science”; p.15-20 (Edinburgh Architecture Research, 2000) Mary McCleod, “Undressing Architecture: Fashion, Gender, and Modernity,” & Mark Wigley, “White Out: Fashioning the Modern,” both in Architecture: In Fashion, ed. Deborah Fauschet al. ; p.38-123 and 148-268 (New York: Princeton Architectural Press, 1994) Joel Sanders, “Stud: Architectures of Masculinity - Dressing walls” (Princeton Architectural Press, second edition, 1998) Alberto Perez Gomez, “The dark forest revisited - On Hypnerotomachia Poliphili”; p.17-19 (The MIT Press, 1994) Francesco Colonna, “Hypnerotomachia Poliphili : The strife of love in a dream”; p.9, p.17-19, p.39-42, p.69 (Oxford Reprints, 2009) Virginia Woolf, “Orlando”; p.68 (Penguin Classic, 2000)

KU Leuven Faculty of Architecture Ghent 2018-2019