Does architectural imitation harm the world of architecture? - Reto Egli

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Reto Egli Student ID: 4419553 19 October 2015 SEM 2016/2017 Tutor: dr. Herman Van Bergeijk Word Count: 1613

Does architectural imitation harm the world of architecture?

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What is it that drives architects to instinctively design ‘novel’ and ‘original' works? In contemporary world an architect’s self-realization favors individualism – the desire to work out a unique creation that intends to not only leave a mark of individual expression in the built environment but also intends to critique the current mode of operandi, in order to earn recognition within a very saturated field of competing individuals (Rybczynski). Therefore, an architect must take on the role of a prophet who with each building designed introduces something ‘novel’ and ‘original’ to the world of architecture (Watkin Prologue xxii- xxiv).

This doctrine in contemporary architecture distorts the architects’ creative process who are now expected to produce only visionary works. Since the historians tend to look at architecture in categories of something being “original”, they automatically reduce the value of projects which in their eyes might not be so “visionary” (Landau 112-113) but according to some should be still appreciated due to innovation that they bring to the world of architecture.

This essay will argue that the pursuit for originality may distort the creative process.

Furthermore, works which show visual similarities or imitate other architects’ ideas can bring innovation and simply manifest the spirit of Zeitgeist1, in this case, architectural imitation does not harm the world of architecture. However, to what extent are we allowed to imitate?

The historian perspective In modern times an architect and its work must be original and visionary in order to be appreciated, however, this is a distorted view, created by historians, of what architecture is as a creative process. The historians look at architecture through the lens of specific eras and from each era they mostly favor architects who first dared to reject the current Zeitgeist by introducing a new theory and featured ‘new’ and ‘original’ characteristic in their work. An architect who has the power to reject the current Zeitgeist becomes the ‘prophet architect’ and the prophet’s work is very often considered by the historians an ideal of its time (Watkin Prologue xv-xiii). As Anthony Alofsin notes “(…) historians have tended to rely on simple visual analogies that reduce the phenomen of making architecture to a crud transitivity: if A looks like B, then B has influenced A” (Alofsin 26). For example, J.J.P. OUD claims that any architect influenced Frank Lloyd Wright (one of the prophet architects) only managed to produce bad or good imitations of his work (OUD 184-187). However, the prophet’s work Zeitgeist “the general beliefs, ideas, and spirit of a time and place” (n.d.). Retrieved September 16, 2016, from http://www.merriam-webster.com/dictionary/zeitgeist 1

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should be seen as just the first step into a new promising era where next architects are the ones that can create a perfect, ‘ideal’ hybrid of its time by introducing innovation to the prophet’s work rather than always looking at visual similarities between projects.

Frank Lloyd Wright’s talent was mainly appreciated after realizing the Larkin building in 1904 in which he had used technologies that came with the industrialization (Alofsin 2527). Despite his design innovation that sought for a new style in architecture his work still supports the arts and crafts movement which does not reflect the complete philosophy of modernist architecture (Langmead 13-15). However, when we look at De Bijenkorf building in The Hague (1925) designed by Albert Otten, we can see that the architect was influenced

by Frank Lloyd Wright as both buildings share similar proportions, use brick as the building material and include industrial design building elements - first introduced by the prophet architect (Alofsin 37). However, Albert Otten managed to free himself from the crafts movement because the building volume became a sculpture itself. Therefore, it could be more interesting to look for an ideal in works of architects who even though inspired by the prophet architect had completely reflected the philosophy of its time and had created the actual ideal.

For instance, Gollins Melvin and Ward architects built a tower in 1969 in London that could be mistaken for an imitation of the Seagram tower built in 1958 in Chicago by International style pioneer Mies van der Rohe, a German- American architect (Waite). Even though they have brought the same aesthetic simplicity into the skyline of London, the tower is structurally way more innovative because the loadbearing structure runs along the outside of the building which allows more flexibility in the floorplan layout and saves material and time in the construction phase. The fact that they contain similar elements prove their significance for the Zeitgeist in the era of the international style within which imitation lead to progress towards an ideal form.

Architectural imitation should not be regarded as harmful because it does not only represent preferences of the current clientele but it also brings innovation and manifests the spirit of Zeitgeist. In conclusion, historians must accept the fact that artist interact, exchange ideas and influence each other, at the same time causing no harm to the development in architecture.

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Distorting the creative process Ever since originality and novelty has become the highest value in architecture, the creative process of designing and producing art has been distorted. As addressed by Canadian- American architect Witold Rybcynski, nowadays, instead of interacting and exchanging ideas, experimenting with previously developed features and further developing them, architects are expected to produce iconic/ visionary buildings every new season and every time set new standards in the world of architecture (Rybczynski). Therefore, the creative process is not a continuous one, which accompanies the artist over series of works allowing to develop consistent characteristics, but starts and ends with every new building.

According to Royston Landau, a British architect, an architect’s work should be seen in relation to the series of his previous works and the advancement achieved throughout an architect’s career (Landau 113-114). For example, Japanese Architect Shigeru Ban experimented with cardboard tubes over a series of buildings and aimed to imitate existing emergency accommodation typologies through the lens of the material features’ advantages in the short construction phase and lightness in static structures. He consistently explored the possibilities of cardboard as a construction material and his often temporary lasting buildings had brought innovation into the world of architecture not only for housing but also in the appliance of other constructions (Walters). Shigeru Ban would most probably not be considered original by the historians as he fits the current eras main motif, otherwise, he would need to reject the current Zeitgeist by exploring the possibilities of the next digital era.

However, the work of this Japanese architect only proves that if an architect is allowed to design in a continuous creative process it can only result in developing innovative features.

Shigeru Ban has explored in a series of works the use of temporary structures for rebuilding after a natural disaster and now if we look at the progress done through the series of his works he can be an inspiration to other architects interested in the use of sustainable materials. If another architect influenced by Shigeru Ban’s work creates a similar project but is also able to develop and advance its features, in this case, he could help people who must deal with natural disasters. This imitation of Shigeru Ban’s work would not only bring progress to the world of architecture but also to the world as a whole. However, to what extent should imitation be allowed?

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To what extent are we allowed to imitate?

China has brought up a copy- cat culture to an extent unknown in the West, ranging from imitated Icons such as the Parisian Eiffel Tower up to whole villages like the Austrian town Hallstatt or the English town Thames (Bosker 1-3). Reconstructed and out of context, this approach is harmful to the art of architecture because neither do those projects bring any development, innovation, nor positively influence the creative process that would benefit the Zeitgeist and therefore fail to promote the tradition in the (Chinese) building culture. In fact, Leslie Sklair, professor of sociology at the London school of Economics notes that Shanzhai2 mainly helps to increase market value of a property through advertisements shown in the media and further misinterprets what architecture is as a profession. (Sklair & Gehrardi 66) Therefore, architects should not be afraid to use other architects’ ideas, however, there exist certain limits. Imitation is only reasonable under the motif of pushing the creative spirit forward and developing innovative features. This way an architect is able to add expression to the world of architecture by developing personal characteristics while experimenting with other architects’ ideas. Being original should not be perceived as the most important criteria but it should be innovation that matters the most.

Conclusion In conclusion, many architects, because of the historian perspective, feel pressured to become a prophet of their generation, however, architects and historians should change the way they think about architecture itself. The historians should not judge a project just because of its visual similarities to another project but should look for innovative features in architects’ work. The fact that some works contain similar elements simply prove their significance for a specific era’s Zeitgeist. It is important to note that the current doctrine exercised by the historians distorts the creative process in a way that architects afraid of imitating do not design in a continuous creative process which could allow them to experiment with other architects’ work and develop their own personal, innovative

Shanzhai “Shanzhai originates from Shenzhen, a Chinese city that is famous for its fake production. Shanzhai can be used if something is just a copied idea of another thing.” (n.d.).

Retrieved October 9, 2016, from http://www.urbandictionary.com/define.php?term=shanzhai 2

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characteristics. Therefore, imitation does not harm the world of architecture but can help architects to work on innovative features and manifest the current era’s Zeitgeist. However, architects should be allowed to imitate only if they are able to bring innovation or positively influence the creative process by developing consistent personal characteristics.

Bibliography

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Bosker, Bianca, and Jerome Silbergeld. Original Copies : Architectural Mimicry in Contemporary China. Honolulu: University of HawaiĘťi Press, 2013. 1-20., Web. Spatial habitus; Spatial habitus (Series).

Landau, Royston. "Notes on the Concept of an Architectural Position." AA Files. 111- 114., Winter. 1981-82. Web. 28 Sept. 2016

Langmead, Donald., and Donald Leslie. Johnson. Architectural Excursions : Frank Lloyd Wright, Holland and Europe. Westport, Conn.: Greenwood Press, 2000. 13-15., Print. Contributions to the study of art and architecture, no. 6; Contributions to the study of art and architecture, no. 6.

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Amerikaanse Dromen Frank Lloyd Wright En Nederland. By Herman Van Bergeijk. Rotterdam: Uitgeverij 010, 2008. 184-187., Print.

Rybczynski, Witold. "When Architects Plagiarize." Slate. N.p., 14 Sept. 2005. Web. 29 Sept.

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Sklair Leslie., and Gherardi Laura. "Iconic Architecture as a Hegemonic Project of the Transnational Capitalist Class." City 16.1-2 (2012): 57-73., Print.

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Walters, Helen. "Buildings Made from Cardboard Tubes: A Gallery of Shigeru Ban Architecture." TED Blog. N.p., 13 Aug. 2013. Web. 16 Oct. 2016.

Waite, Richard. "Parry Tipped for Tallest Tower in City." The Architect´s Journal. N.p., 03 Feb. 2015. Web. 17 Oct. 2016.

Watkin, David. Morality and Architecture Revisited. London: John Murray, 2001. Prologue xv-xxxiii., Print.