Ruskin's Relevance to Modern Architecture

2012 Oliver Baldock

Dartford Grammar School

Word Count: 3,998

TO WHAT EXTENT ARE RUSKIN’S SEVEN LAMPS OF ARCHITECTURE STILL RELEVANT TO MODERN ARCHITECTURE WITH REFERENCE TO THE DESIGN OF DARENT VALLEY HOSPITAL AND THE TATE MODERN, LONDON?

THE CONTENTS

The Contents .................................................................................................. 2 The Abstract ................................................................................................... 3 The Essay ........................................................................................................ 4 Introduction ............................................................................................ 4 The Subjects of the Essay........................................................................ 4 John Ruskin, Himself ............................................................................... 4 The Seven Lamps of Architecture ........................................................... 5 The Tate Modern .................................................................................... 6 Darent Valley Hospital .......................................................................... 10 Conclusion ............................................................................................ 14 The Bibliography ........................................................................................... 15 Books .................................................................................................... 15 Internet Sources ....................................... Error! Bookmark not defined.

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THE ABSTRACT

This essay asks the question, ‘To what extent are Ruskin‘s Seven Lamps of Architecture still

relevant to modern architecture, with reference to the design of Darent Valley Hospital and the Tate Modern, London?’ A deep interest in art and architecture, along with new found knowledge

of John Ruskin’s opinions, meant I could begin to analyse and break down these major

structures into their component parts and the essence of their design. The comparisons and contrasts seen firsthand can be explored further when considering Ruskin’s ideas which allow a

criticism of both topics. The nature of the Tate Modern means that the initial investigation is easily facilitated, as all perspectives of the structure can be viewed making analysis of the relevant Lamps simple. However, Darent Valley Hospital posed a greater problem as, although

the building is accessible and welcoming to the public, the recording of details and designs is much harder. Safety and security limits the type of access needed to fully represent the comments made throughout the essay, so compared to the Tate Modern, where various

criticisms and notations can be justified through visual representation, such judgements for Darent Valley need to be taken on trust and a certain reliance. This limits the scope and confidence in the essay, as the achievements of the message are somewhat dampened by the lack of illustrative material. However, it will not and does not affect the conclusion of this essay.

It is evident within these two examples that the majority of Ruskin’s principles are limiting and

so quickly became outdated, as can be seen in the modern designs. However, as later discussed,

the principles which discuss the simplicity and power of buildings as well as the benefits of nature are and will remain relevant in our modern world.

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THE ESSAY INTRODUCTION

Such a substantial body of work seems rather void of meaning without a little personal context.

Thirteen letters on a form will tell you little of the passion instilled in me from an impressionable age to pursue architecture. Twenty-eight words titling the page do little to show the hours spent perusing designs and further readings on the era’s most prominent constructions. Fortunately, this was in search of both and enjoyable and intellectual read which

would further my opinions and knowledge of architecture, rather than finding a research

question. However, it is both an enjoyable and intellectual topic that makes this piece an essay rather than a commentary and through reading the work of John Ruskin, the controversial topic of the ‘Seven Lamps of Architecture‘ captured my attention forming the basis of this exploration.

THE SUBJECTS OF THE ESSAY

The subject is perhaps as, or even more, important than the principles behind this discussion, and both the Tate Modern, London, and Darent Valley Hospital were chosen not only for their

contrasts, and similarities, in purpose, design and history, but equally for ease of access,

allowing personal experience rather than relying on secondary sources. Throughout this piece,

it is my qualitative data and opinion that will form the underlying argument that Ruskin’s ‘Seven

Lamps of Architecture,’ however relevant at the time of publication, is now outdated. This view is subjective, as what is architecture, if it is not an art.

JOHN RUSKIN, HIMSELF

Ruskin himself followed this view and this essay carries little power without a brief

introduction to this famous art critic, and his importance to the Victorian Era. Born in 1819,

Ruskin was also a draughtsman, prominent social thinker, and philanthropist. He touched almost all sections of society as he emphasised the connections between nature, art and society,

pre-empting environmentalism, through his writings. In his life time, Ruskin became an increasingly popular public speaker. First talking on art but slowly moving to political tones and Oliver Baldock |The Essay

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controversial ideas about his faith. Major changes in society, such as the abolition of slavery and

the industrial revolutions, focused Ruskin on industrial capitalism and the ‘social economy.‘ Praised by Ghandi (Gandhi, 1993) and widely renowned, he was considered a social reformer by

writing about man’s need to return to a simpler time, with direct reference to the industrial

revolution, and a need to live with consideration for your fellow man. Interestingly, an element

of morality and spirituality remains throughout Ruskin’s work, even though he lost his faith at

forty. This complements his views on an idealistic society suggesting his morals run deeper than

what he considered to be shallow faith. A choice was made in Ruskin for this extended analysis,

for although not an architect himself, he had, especially after World War 2, a strong influence

over the pioneers of modern architecture, such as Charles Voysey and Frank Lloyd Wright.

(Landow, 2000)

THE SEVEN LAMPS OF ARCHITECTURE

In 1849, Ruskin offered a moral code he considered public architecture should follow. Formed

of seven demands that Ruskin aptly named ‘Lamps’ in reference to Britain’s industrial

revolution forming these criticisms as a beacon for Ruskin to lead architecture into the light from the dark age. Ruskin’s first tentative steps into architectural criticism had a mixed

response, for it seemed outrageous that he should be worthy of judging another’s work, in a

field which he had little experience in. Nonetheless, there is evidence of the Ruskinian style being adopted in William Butterfield’s All Saints, Margaret Street Church. Construction details were confirmed by the publication of Ruskin’s book in May, but by August the plans had been

revised to incorporate the following, very specific ‘Lamps’. (Landow, 2011)

The first, the ‘Lamp of Sacrifice,’ deals with the premise that architecture, most specifically churches, but essentially all constructions, should serve as proof of the communities’ dedication

to God. The second, the ‘Lamp of Truth’, considers the honesty of a building, with handcrafted

materials displayed naturally, so the observer is aware of the construction process. The ‘Lamp

of Power,’ has ideas about the massing of buildings and implementing nature to produce

impressive structures that consider the physical effort of construction. The ‘Lamp of Beauty’ aspires towards divinity being expressed through embellishments and decoration of the buildings. The ‘Lamp of Life,’ presents the idea of hand crafted architecture, and the enjoyment of the masons and artists involved in construction. Similarly, ‘The Lamp of Memory,’ introduces

the idea that buildings should respect local culture and the surrounding community. The final Oliver Baldock |The Essay

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Lamp is of ‘Obedience’ suggesting buildings should conform to existing English values, with no

originality for its own sake. In modern British society many of these ideas would be controversial and their relevance questioned.

THE TATE MODERN

Modern architecture, perhaps not at its greatest, but at its most functional, comes from the Tate

Modern. The dominant features within the building portray the history of this site, for it was not

always the modern art gallery it is today. Built in two phases between 1947 and 1963, Bankside Power Station was designed by Sir Giles Gilbert Scott, who was also the architect of Battersea

Power Station situated upstream of our focus. Bankside lay unoccupied after an increase in oil

prices in 1981 until 1994, when the Tate collection at Millbank sought a larger home. An international architectural competition handed over the building to the Swiss practice, Jacques

Herzog and Pierre de Meuron. Although an internationally recognised cultural landmark, the modern design is born out of an obsolete functionality, an efficient use of architecture which may not be as well regarded by Ruskin’s principles.

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The Lamp of Sacrifice, dealing with a connection to God, should, through Ruskin’s eyes, mean that ‘of two marbles, equally beautiful, applicable and durable….the more costly [would be

chosen] because it was so.’ (Ruskin, 1894, p. 17) It is a dedication to a higher meaning and this understanding of the principle leads me to discuss its relevance to the Tate Modern. Although

there is little, arguably no, biblical references in the building, there is a sense of dedication. This

vast space has been donated, sacrificed, to the public, for their enjoyment of the art within. It is

perfectly formed to highlight its contents. On entering, the turbine hall engulfs, and sacrifices

any embellishment, other than the bare structure, to draw the eye to the art. The building,

although iconic, is not, unlike the Shard, a building built to be iconic. I would agree with Ruskin when saying the Tate is the ‘opposite of the prevalent feeling of modern times, which desires to

produce the largest results at the least cost.’ (Ruskin, 1894, p. 17) Much of this vast space is unoccupied, unused and in fact, useless. However, much like a cathedral (Anon., 2011), it serves

as a dedication to the contents, sacrificing exterior renovation for an industrial heritage. The minimalism inside, is, as Franco Bertoni (Bertoni, 2002, p. 10) suggests, a review of discipline,

sacrificing the unnecessary to emphasise the important, and although unreligious, the Lamp of

Sacrifice considers the Tate Modern an effective medium on which to present ideas.

Nobility works with the sacrifice of a building and a truth can certainly be seen in the Tate

Modern, as the austerity, which the art critic David Lee (Anon., 2000) mentioned, captures the severity of a building with exposed brickwork and girdered roof, right through to the concrete Oliver Baldock |The Essay

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galleries and white-washed walls. The exposure of the building juxtaposes what Ruskin

considers deceit within modern art. The sacrifice of extravagant features hits the visitor with unadulterated force. The depth and darkness of the ceilings is not exposed by lights, the view is

not obstructed by walls or detracted from by sharp colours. However the relevance of Ruskin’s

work can be questioned when he suggests that only ‘materials accessible in quantity, and on the

surface of the earth,’ (Ruskin, 1894, p. 43) should be used. Although, there is a truth to the point

where an admirer can see the vastness of the space and gauge the work of the architects, the use of steel in bracing the main turbine hall does little to exemplify the mass being put on this

material for the strain is taken with ease. Although this is acceptable, even aesthetically pleasing, the point Ruskin attests to is that these materials do little to honour this expanse.

Once, where huge stone arches would have vaulted, there is now riveted steel beams which

advocate the industrial history which is paramount to the truth of this structure.

Arguably, I would consider the ‘Lamp of Power’ to be most important to the Tate Modern.

Ruskin mentions that all buildings, ‘show man either as gathering or governing.’ (Ruskin, 1894, p. 71) One is an adoration of the works of God, the other, an understanding of the dominion over

these works. The Tate falls into the latter as a sublime structure, which sits, not domineering of the landscape, but with quiet power, drawing the eye along both river banks and across the Millennium Bridge. The visitor is engulfed by the depth of the turbine hall, the minimalism

emphasising the isolation of the individual, with little else added. Ruskin explains further, ‘there must be one bounding line from base to coping,’ (Ruskin, 1894, p. 75) which is fulfilled by the

strong vertical line carried up from the ground through the chimney, drawing the eye back

down into the mass of the building. I believe most relevant to modern architecture is the

comparison to nature. We determine a power in nature that comes from an undisturbed surface (The Wilderness and the West, 1997) , something about a barren landscape that emanates

power. It takes little to humiliate a mountain by the placing of a small hut or even trail just as a vast expanse of forest, as Ruskin mentions (Ruskin, 1894, p. 77), is a powerful force. The same

effect is created by the brick facade of the Tate Modern. The flow of the exterior brown forms an

undisturbed mass replicating the power we feel on entrance of the vast cavern.

Drawing from the power of nature Ruskin states that ‘man cannot advance in the invention of

beauty, without directly imitating natural form.’ (Ruskin, 1894, p. 101) His belief that architecture must stem from nature, although understandable, is perhaps limiting. For one,

beauty is subjective and cannot be achieved through a sole method. Personally, I find beauty in

the way a plain, brick power station encloses such glorious exhibition spaces with little indication from the exterior. However, this relates to the truth of materials, for there are Oliver Baldock |The Essay

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limitations to the way bricks and mortar can be built, and to a lesser extent, glass and steel.

Development in ideas and resources leads to a development in beauty but elements can still be drawn from Ruskin’s use of nature. Having listened to Bill O’Reilly (O'Reilly, 2011), talk on the

fact that our existence is by chance, the simplicity of nature can be applied to the Tate Modern. A

housing, with little embellishment even acknowledgement of the contents, simply accentuates

the artwork inside, without knowledge of this purpose. Therefore, although this Lamp of

Ruskin’s may be outdated, the lines of thought connect his principles of nature with the root of beauty.

Perhaps controversially so, the Lamp of Life, is one that needs to be considered further in modern society. Ruskin talks about the emotion and the individuality that goes into a building, ‘so long as men work as men, putting their heart into what they do, and doing their best’; (Ruskin, 1894, p. 162) then architecture shall be endowed with another dimension.

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preservation of craftsmen, rather than cold, clean cut machinery, makes the difference between a house and the home. Tate Modern bares none of this; its bricks are commonplace, the

metalwork is mechanised, and its strip lights are bare. The coldness of whitewashed walls and isolation in the turbine hall replicates the expanses between artwork. With little memory of

those who crafted these walls 50 years ago, the structure is a blank slate; the observers are solely affected by the contents and the artists that live within them. The isolation emphasises

the architecture as a memorial to the emotionless industrial history of this building. However, Ruskin considers a more important question to be whether a building was built with enjoyment.

(Ruskin, 1894, p. 165) Although the power station would have little consideration of this

question, the quality and effect of renovation suggests an understanding and enjoyment of the

effect such contrasts in design can have.

The ‘Lamp of Memory’ is infused in the Tate Modern, as Ruskin believes in a building becoming ‘memorial or monumental [so] that….true perfection is attained.’ (Ruskin, 1894, p. 170) In terms

of the Tate, itself a memorial to the prior power station, which has been restored not to the

former glorious hub of the city, but as a quiet remembrance of all involved in its life. Ruskin mentions that ‘we have no right to touch them,’ (Ruskin, 1894, p. 186)and that they should be

left as a remembrance to the craftsmen for future generations. The Tate Modern would stand as a desolate building, perhaps proud, but decrepit. A careful readjustment and recognition of the

power and purpose of the walls reinvented this building as both a memorial and a gallery for

the future. This dual purpose is more successful than either separate, and can be proved more interesting as combined memories link the societies and histories of the building. Ruskin’s

point, although understandable in highlighting the importance of memories, is false in Oliver Baldock |The Essay

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restricting the future. Every effort should be made to preserve and extend the life of a building as is successfully shown by the reinvention, rather than restoration, of Bankside Power Station.

In renovating the Tate Modern, the original style is maintained; there are few materials unutilised from its previous life, and so this agrees with Ruskin in that ‘a new style of

architecture is not needed but just some style.’ (Ruskin, 1894, p. 191) The industrial sternness is

constant throughout, and effective. The exterior, and the recently reopened oil tanks (Anon.,

2011), are of similar design to existing values, and it accomplishes the originality of a world

renowned art gallery, swiftly, elegantly, and without straying far from a 20th century memory.

However, Ruskin limits the imagination and degree of design by suggesting there should not be originality for originality’s sake. Understandably, a building should attempt to honour its

surroundings but the challenge that is posed to good architecture, is meeting this criterion whilst remaining unique. Although the Tate Modern appears a power station, the reinvented interior is striking, reminiscent of its past, and obedient to its heritage, yet distinctly original.

DARENT VALLEY HOSPITAL

The second focus of this essay is the contrasting Darent Valley Hospital on the outskirts of Dartford in Kent. Built on the brown-field site of Darent Park Hospital for children which was

demolished in 1988, this modern construction from 2000 is a 478 bed, acute district general

hospital, which employs 1,900 staff. ( Dartford and Gravesham NHS Trust, n.d.) This facility entered into this essay for many reasons. The first simply being that this is a local site that I

pass, and sometimes admire it, on almost a daily basis. The second being, that part of my nuclear

family works within, meaning efficiency and the design of this hospital is easier to comment on.

Finally, this is the interior design work of Nightingale Associates, an architectural firm with

whom I have undertaken work experience with on several occasions which allows me to draw

on the design intent. Moreover, this is a functional building, where design has to be compromised for patient care and staff use.

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Sacrifice is all too often heard within public sector buildings. Darent Valley Hospital is little

different, and the design has suffered, not in a visible, but in a limiting way, due to the

restriction on funding, which, quite rightly so, is devoted to patient care, rather than pillars clad

in marble. However, the structure is impressive; a vast glass entrance hall introduces the main

lobby, attending to a different purpose than design. Sunlight is one of the greatest, free

medicines, and maximising light in any hospital is almost always beneficial 1 . There is sacrifice within this structure, perhaps not with Ruskin’s intentions but with a preference to the patients It should perhaps be noted that this is untrue for the treatments of such mental disorders as schizophrenia.

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and a dedication to the local community, however design is present but not for design’s sake.

For a hospital needs to be appealing to patients whilst being practical and the minimalistic

approach to this could be seen to satisfy the greatest range of tastes through its rather plain appearance.

Perhaps medical reasoning results in both the sacrifice of design and the lack of truth within this

hospital that has clean white lines met with glass and wood-effect flooring, more appropriate for the necessary hygiene precautions taken here. There is an inherent violation of honesty with the

columns that appear to rest on the floor, when in fact they pass much deeper. When passing a wall, its texture, weight and temperature cannot be judged, for we do not know of its material

under the white surface. However, there is an argument against Ruskin’s point that ‘all cast and

machine work is bad.’ (Ruskin, 1894, p. 55) For in our modern society where our population is

demanding, the provision for the health of the public needs to be the best for the greatest

number which is a classic utilitarian point of view (Mill, 2002). This, especially in the current economic climate, cannot be achieved in hospitals crafted by hand for the cost of labour, the limitations on size and the sacrifice of hygienic conditions would be too impacting. A slip of the

hand or spasm of the finger leaves crevices for bacteria and so the dishonesty that Ruskin resents, is here born out of medical requirement which highlights how outdated these Lamps may be.

Darent Valley appears exteriorly broken and with no strong line joining the curvature of the

roof to the ground below, the sinuous curves lack the power of the Tate Modern. However, the

importance of this building in society, and the way it enables the working of the undervalued

employees, balances against this lack of architectural power. Internally though, the single

corridor which connects all departments, staff and patients, draws this hospital together. Power

stems from unity which joins the curves to the lines and the white spaces to the white surfaces

without the need of strong lines, or imposing walkways, so visitors can both feel comfortable

and assume control over their building and ultimately, their needs. This is juxtaposed by the

isolation of the hospital atop a hill, surrounded by car parks and fields suggesting of a castle, a

place of protection, and ultimately a powerful source of health. However, Ruskin proposes it to be the mass of a building that gives it power. (Ruskin, 1894, p. 73)This appears irrelevant for

Darent Valley which floats on glass, yet its powerful structure is absorbing of the surrounding environment, and reflects it through the lines and curves representative of nature.

An agreement with Ruskin suggests that Darent Valley Hospital’s organic form suggests a

beauty in its structure and design. The three sloping roofs of the main foyer balance with the Oliver Baldock |The Essay

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curved main building whilst contrasting the horizontal form which settled into the surrounding

landscape. The form blends into the curvature of the hill and exemplifies the complexity created through the informed simplicity. This building, which is made up of so few lines and axes, and

sits around this central corridor, forms the complex workings of a hospital that still allows for ease of use by the general public. The shapes are simply curves and lines, but together form

habitats. The building is not stark, but the minimalism ensures the focus remains, similar to the industrial design of the Tate, on the contents, who, in this particular study, are the patients.

At 12 years old, little evidence of the life of Darent Valley is displayed. Nor are there memories

of those who designed and crafted such a building. Few people involved in such fields of

architecture wish to be remembered in a place which can be both stressful and heart breaking.

However, other than the design itself, there is little evidence of the construction process, as with

fabricated sheets, machine built to specification, error is rarely afforded or found. However,

Ruskin proposes that the life of a building is shown through ‘contempt of refinement in execution,’ (Ruskin, 1894, p. 147) suggesting that an asymmetrical arch may be a sign of

workmanship. Although modern architecture is so unlikely to see human errors in the

construction of public buildings, Darent Valley shows that the thought and compassion behind

such an intimate build is an insight into the architects and designers of such a modest building.

The attention to detail, although differing from that of a century ago, is evidence enough of

craftsmen who have taken on a more managerial role in overseeing the rise of these structures.

The local community is inherent within a hospital and we see a reflection in Darent Valley of the

surrounding settings, not just in the flowing fields and sinuous lines, but also within the sunken

Bluewater Shopping Centre. Extensive areas of glass, colour and organic design are reciprocated in the popular destination, whilst the rear appears to decline into housing-like structures

mimicking and settling into the estate behind. This respect for the community is condescending

to modern skyscrapers that may tower over historical landmarks with little consideration for their impact. Indeed, this flow into the surroundings from the hospital is only broken by the

unfortunately necessary car park. Ruskin recognises the importance of this connection, and a respect for both the social and natural environment and the need for a clear reason in allowing a building to integrate into a community’s future.

The memory of this building is compliant to Ruskin’s beliefs with no outlandish originality,

obeying its surroundings and blending surreptitiously into them. However, the simplicity of a single corridor fastening the building is innovative and unique. It obeys ever-changing English

values of architecture that encompass efficient design and originality. Significantly, Ruskin Oliver Baldock |The Essay

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would say that such originality serves a purpose, and this layout maximises ease of access,

allowing easy treatment for all who require it which reduces stress levels and helps to improve overall health. These simple considerations continue to define a Darent Valley that tends to patient care, whilst stretching freedom in architectural values that cannot really be defined.

There is no one factor that can define British architecture, save that of its vast expanse, and so efficiency and originality are just as, if not more, important than any others.

CONCLUSION

In 1849, Ruskin proposed an architectural criticism that offered a moral code he considered all good architecture should follow. Application of these seven lamps on the modern developments

of the Tate Modern and Darent Valley Hospital has shown both the similarities between these

public buildings, and how Ruskin’s principles may appear obsolete. Nevertheless, truth can be

drawn from his words which should apply to architecture of today. The more significant of these

fall under the Lamps of ‘Memory’ and ‘Obedience’. Any construction should be considerate of its

surroundings and restraining on outlandish design. This involves a certain morality in architecture that is irrelevant of time when many of Ruskin’s principles are outdated period

features. Technology cannot develop whilst we live in mud huts, but Ruskin goes further than simple aesthetics and materials. Design can be drawn from nature, where there is something to

be said about the beauty of a simple building and the power of an unbroken surface. There is something to be said about sacrificing an overbearing arch for a wooden frame, an ornate

staircase for metal steps or a masterpiece of design for patient care. Moreover there is

something to be said for good architecture and even if Ruskin’s exact requests are outdated,

principles that govern such passionate words are and should be in use today, perhaps not entirely but definitely efficiently.

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THE BIBLIOGRAPHY BOOKS

Bertoni, F., 2002. Minmalist Architecture. In: s.l.:Birkhauser Verlag AG, p. 10.

Gandhi, M., 1993. Gandhi, An Autobiography: The Story of My Experiments with Truth. In: Boston: Beacon Press, p. Phooenix Settlement.

Mill, J. S., 2002. Utilitarianism. 2nd ed. s.l.:Hackett Publishing Co.

O’Reilly, B., 2011. Where did it all come from? [Interview] (26 January 2011).

Ruskin, J., 1894. The Complete Works: Seven Lamps of Architecture, Lectures, Study of Architecture. In: New York: Bryan, Taylor & Company, p. 17.

The Wilderness and the West. 1997. [Film] Directed by Robert Hughes.. United States of America: PBS.

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[Accessed 27 May 2012].

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Drafta, V., n.d. The Nature is Simple in Essence. [Online]

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Reisner, Y., 2010. Without Emotion, there can be no Beauty in Architecture. [Online]

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Whitworth, M., 2010. How the Power of Architecture Changed a Community. [Online]

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