EXPLORING IDENTITIES
EXPLORING IDENTITIES -ROHIT RAJ
EXPLORING IDENTITIES
Abstract
This dissertation is about the argument of architect and writer Robert Charles Venturi that how there is “Symbol in space rather than form in space.� Exploration about the terms Symbolism, space and meaning will be made individually and finally we'll see how they are inter-related. It will also be a concern of exploration that is there really need of what Venturi is asking in the postmodern architecture, or is it good enough in itself. It will explain what the observations of Venturi about Las Vegas are and make attempts to understand his views on symbolism and space. It also clarifies the distinction between symbolism and representation, which are often considered as identical terms. It concerns about the consequences of modernist and postmodernist architecture on society and whether it is beneficial for its development or not. Valuable extractions from the works of people like Ernst Cassirer, Jochen Dreher and Scott Rimmer, who have already done research in this area, are the addons of this dissertation in order to critique the topic in a more precised way.
EXPLORING IDENTITIES
1. Symbolism, Rather than Form in Space Symbolism and meaning are the terms used in Sociology quite often. However, these terms are as much important in architecture as any other field. In simple words, Symbolism is nothing but information about something. It describes the meaning, and nevertheless, meaning may be interpreted and perceived differently from person to person. It establishes a relation between society and people. So, it implies that symbolism is cultural as well as social. The main argument of this dissertation, which has been explored by the famous architect and writer Robert Venturi in a number of his books, is how “Architecture is Symbol in space rather than form in space” and up to what extent is his statement justified1. This dissertation will make attempts to clarify the notion of symbolism, existence of symbolism in postmodernism, symbolism in Las Vegas (taken as a case example by Venturi), and distinction between symbolism and representation which has been a topic of debate for a long while. Inter-relationship of terms like Symbolism, space and meaning will be explored. This has been a topic of debate over a long period of time if only the built form have enough potential to express meaning of a space or not. However, Venturi has always denounced for simplicity in buildings claiming that architects prefer it because they are not willing to solve all the problems of the building but only those which they think they can resolve. Venturi has blamed that modern architecture has been anything but permissive2. His intent was to convey that modernists and postmodernists have disrespected the pre-existing environment and architects of these times have preferred to go in the more obvious and easier way - that is to change the whole environment, irrespective to the context in order to build something new, rather than working with what already exists there. His disagreement with the approach of modern and postmodern architects shows in the first paragraph of his book itself, in which he criticized Le Corbusier’s suggestion of making a whole new prototype model of Paris rather than curing whatever problems existed in the city3.
1
Robert, Venturi, Learning From Las Vegas. Cambridge: MIT Press, pp. 8-9. (1972) Robert, Venturi, Learning From Las Vegas. Cambridge: MIT Press, pp. 3. (1972) 3 Robert, Venturi, Learning From Las Vegas. Cambridge: MIT Press, pp. 3. Para 1 (1972).This prototype model by Le Corbusier was known as “The Voisin” and it was exhibited in 1925. In this model, he proposed to demolish most part of the central Paris and reconstruct it with 24 towers of 60 stories each. 2
EXPLORING IDENTITIES It is significant that there has been radical change in the trend of architecture and now the change is more frequent. It happens because the need of society and people changes. There are always new demands, new requirements, and new anticipations and if nothing else, the need to see something which seems unique to their eyes. This may not be possible if there is consistency in architecture. There has to be changes. The classical monuments of ancient Roman and Greek architecture need not be built again today. That was the time when rulers used to build monumental scale structures with complex architecture style and meaning to show their power. Today people want to see those structures because they have information of history, mythology and they are the only link between modern and ancient world. So relativity of architecture with time is undeniable.
2. Notion of Symbolism Symbolism is a language of communication. It is there to convey, depict and mean something. According to Venturi and Brown, who has been advocating symbolism for a long while, symbolism saves the spirit and principle of early modernism through implying the old function of architecture in space - communication4. Postmodern architects have been blamed for abandoning the idea of symbolism, but they need to refocus as communication is one of the most vital functions of architecture. The main reason behind this, according to Venturi, is that neomodernists are unable to understand and incorporate symbolism in space and that’s why they prefer to work in the context in which they are comfortable. They prefer to work more on the structure of the built form rather than its symbolism. Criticizing this approach of the neomodernist, Corbusier said: his “eyes that will not see” which he explains as, “We have discovered real, strong solutions to modern problems. If they look ugly to you, it’s because your eyes are unaccustomed to them.” Architects are afraid of making buildings which are not aesthetically beautiful; consequently they seem to be more into the abstract expressionism style of architecture and hence ignoring the traditional and cultural values of architecture5.
4
Robert, Venturi & Denise, Brown. A Discussion about Rhetoric, the "Learning From..." and the Virtues of the Generic. (O. Oliver, & M. L. Dinardi, Interviewers), pp. 1 5 Robert, Venturi & Denise, Brown. Signs and systems. (D. Kuhlmann, Interviewer), pp. 2
EXPLORING IDENTITIES The delight of architecture lies in enhancing multiculturalism6. Symbolism is one of the easiest and simplest ways to promote and appreciate this practice. For example, roman order of columns, hieroglyphics7 on ancient Egyptian buildings and byzantine churches these all were from different communities but their main purpose was to give information about their community through symbolism. This is what makes them interesting and unique in terms of architecture. Architecture demands that values of culture and history should be conserved. This is where the idea of Generic building gets significant8. Venturi explains this term with the example of Italian Palazzo, which was once used as a residence, then as a museum and later as library or embassy. This implies that generic building forms can easily accommodate the different activities while following function. This is the demand of time where exponential growth of population makes it imperative that there be more robust planning at urban level which can accommodate different activities in lesser space more efficiently. Romans and most of the European countries have been successful in implementing this concept in their city planning. As a result they are a more future-proof side. Apart from all these thoughts and descriptions, the idea of symbolism in space before form in space still remains an area of doubts and debate. The contradiction itself lies in later half of the argument i.e. “rather than form in space.” It seems hard to accept this part of the argument because symbolism can be only perceived when it is in the form of a mark, sign, body, object or built form. The question which arises here is “how can there be symbolism in empty space that is kept in isolation”? The characteristic of all empty spaces are the same and at the same time symbolism is always considered to be unique. So here is the first contradiction. Again, an empty space has meaning when it is defined in the context of its surrounding which consists of some built form, may be any building, topographical feature, natural objects etc. This suggests that even empty space will symbolise meaning with the help of built form around it, even though it is in the background. Hence it seems to be a very convincing point that there is always some form in space, either directly or indirectly, which adds symbolism to the space. 6
Multiculturalism is the living of a number of communities together, yet showing the vivid colours of different community at the same time. 7 Hieroglyphics were the combination of iconographic and alphabetic elements, used by ancient Egyptian people, in their writing system. 8 Generic buildings also known as “Robust buildings” are those which can accommodate different activities at different times.
EXPLORING IDENTITIES
3. The Existence of Symbolism in Postmodernism According to Venturi, Symbolism has lost its significance, up to a great extent, in postmodernist architecture due to the changing trends of design. In recent times, postmodernist architects and urban planners are doing projects which are unlikely complementary to its surrounding context. To notice this change in trend of postmodern architecture, the projects of architects like Zaha Hadid are the best example, who has completely abandoned the idea of making the building with respect to its surrounding. All of her projects are based on dynamic forms which create a great contrast to the surrounding irrespective of what already exists there. Although it looks very pleasing to the eyes when seen in isolation but when placed at the site and seen with its surroundings, it looks like an alien structure. Symbolism is nothing but conservation of the cultural and historical value of the pre-existing space and this is exactly what is missing in postmodernism. There is no doubt over the aesthetics and functions of the postmodern building but it is the soul that is missing when evaluated in terms of the context of the place. The communicating character of the building has gone. The buildings have just become an object through which the architects are trying to show their influence. However, modernist architects and architecture critics of recent times still disagree with Venturi’s concept of incorporating complexity in space. He has been often blamed for his partial approach for modernist architecture and imposing his theories of symbolism and complexity in space9. Reason behind this criticism is the undeniable beauty of simplicity which modern architecture has given to this world and which is being so appreciated and accepted all around the globe. Simplicity is always impressive. Advancement and modernism is always meant for the simplification of things. Architects like Mies brought the concept of “Less is more”10 which completely revolutionized the modern architecture style (though Venturi showed his instant disagreement to Mies by modifying his concept in his own terms as “Less is bore”). This shows how much desperation was there to see something new, something which is pleasing to eyes, which is simple yet making a statement as a modern iconic building.
9
Philip, Finkelpearl J. Journal of the Society of Architectural Historians, Vol. 38, No.2, pp. 203-205. (1979). The German-American architect Ludwig Mies Van Der Rohe believed in simplicity and clean structures rather than heavily articulated buildings. He emphasized on the use of large glass façade and used steel columns as an aesthetical element. 10
EXPLORING IDENTITIES
4. Symbolism in Vegas Venturi has always been very keen about the architecture of Las Vegas as well as signs and symbolism in architecture. He considers Las Vegas as the best place to go for someone who is willing to be a successful architect11. In his book, “Learning from Las Vegas� he has combined both the topics of his interest and has criticized the Neomodernists for over emphasizing on space as the integral part of architecture rather than symbolism. Very subtle things like the orientation of signs, their graphical meaning, pattern of parking lines etc., create strong symbolic relationship with its surrounding. Another very important aspect of symbolism is scale. The scale of small elements like signage, parking and banners can create illusions so that the building may look bigger or smaller. If the scales of these elements are kept proportionately larger, then the building looks smaller whereas when the scale is smaller, the building looks bigger. Chaos is what one will always see on the Vegas strip no matter what time of the day or night it is. There was need of something which can control the chaos without disturbing the built environment and the most suitable option was signage. Signage not only helped in advertisement or commercialization, but it was also very capable of managing traffic and regularizing pedestrian and vehicular movement. So one can also state that signage is an important part of urban design. Giving direction through signage to pedestrian itself can lead the users to the desired destination thereby enhancing the chances of good business at a commercial place. It also allows the visual invitation to the users into the casinos and hotels while driving on the strip. Apart from signage, artificial lighting is also a significant factor of symbolic space. It also depicts the nightlife of the place. As in the case of the Las Vegas strip, it looks livelier at night. All the flashy and glowing neon lighting systems on billboards and signage invites the tourists to enjoy the glamour and nightlife of the place. People like to just take a stroll on the roads at night, enjoying the bright atmosphere which lends a sense of fun and cheer. at the same time lighting systems also force the people to come inside the casinos and motels along the strip as they are in form of signage showing directions. Very opposite to this, inside the casinos it is all dark, with very dim light, which symbolizes a place with some mysterious
11
Robert, Venturi. Signs and systems. (D. Kuhlmann, Interviewer), pp. 1
EXPLORING IDENTITIES environment - perfect for a gambling place12. People experience this amazing contrast and it also creates psychological illusion to great extent in spite of a simple building. he has talked about the parking areas, building forms, signage, lighting systems and much more. He pointed out how the billboards and large hoardings are seen by the visitors from the highways itself. Also, for spaces where people are travelling in vehicles at faster speeds, signage, billboards and artificial lighting play very significant role in pulling the attraction of people sitting inside the car. Their role also becomes important as most of the buildings on the strip are not visible completely due to vast parking areas in front. This style of Vegas strip became so famous that it formed a rule of “big sign and small building” on the whole route 66, Las Vegas13.
5. Symbolism and Representation Symbolism is not the giving of a meaning to something but it is a mere representation of a particular thing which already exists and has meaning submerged in itself14. Everybody may have his own different version of symbolic interpretation for the same sign. As for example, one can interpret a red dot as symbol of danger while the other may see it as a mark of non-vegetarian product. A symbol has no universally accepted interpretation. But a representation has, as it is representing the pre-existing thing which already has some meaning. A representation does not allow for an object to acquire new meaning. It reflects the images and abstractions of what the human mind already has seen in history, society and culture. Ernst Cassirer, a German philosopher who wrote on the symbolic theories, argues that “nothing is really a symbol if it is only a mark of something already given and enabling us to talk about it again”. Going into the depths of its philosophical meaning, one may figure out that meaning of a mark is always going to change or get lost over a period of time. Symbolism is what will exist for that mark for ever.
12
Robert, Venturi. Denise, Brown. Steven, Izenour. Learning From Las Vegas. Cambridge: MIT Press, pp. 4950. (1972). 13 Robert, Venturi. Denise, Brown. Steven, Izenour. Learning From Las Vegas. Cambridge: MIT Press, pp. 1318. (1972) 14 Scott, Rimmer. The Symbolic Form Of Architecture. Virginia, pp. 5-7 (1997).
EXPLORING IDENTITIES Another interesting matter of fact is that imitation of representation removes the symbolism in it. Symbolic forms are not copying, but a discovery of what is reality and discovery is always unique. Every space should have a unique symbolism in it according to what it is meant to be used for. Therefore, summing up the conclusions of all the above arguments, it may be mentioned that representation to symbolic is just what black is to white. These theories and philosophies of Cassirer also impart the intangible support to what Venturi is trying to argue in his writings.
6. Gives and Takes of Symbolism The most important thing which symbolism gives is information. It gives information about cultural, historical and social aspects and describes the identity of the space which is existing. It is a complex ideology to understand but at the same time the most important thing which is depleting from modern built environment. Giving respect to the context and surrounding environment is what needs to be the utmost area of attention for today’s architects and planners if the cultural and historical values are to be conserved. Otherwise there will be no record of evolution of society and culture. Symbol in space is often related with interpretation of information, which acts as a bridge between yesterday and today and also indicates what tomorrow is going to be like. It is not necessary that it can only be done by abandoning the modern concepts, but there should be a balance which allows the modern buildings to communicate and symbolise the meaning of space as anticipated. Modernism and Postmodernism have given some of the most magnificent structures all around the world which is hard to ignore. They fulfil their function as well as complement to their context precisely. For example, The Guggenheim Museum Bilbao15 in Spain is one of the most amazing structures of post modernism. It generates a major part of the city income, as well as sets an example with its unique and one-of-its-kind form. It was intentionally designed such that it could restore the economy and employment in the economically depleted city of Bilbao. Though it is far from the concepts which Venturi talks about, still it shows how the trends in architecture have changed over a period of time. It is the form of the structure which is making the structure symbolic. Unlike most of the postmodern buildings, it sits into its context very nicely as it is situated along the river Nervion and the form of structure reminds of a ship. 15
The Guggenheim Museum Bilbao was designed by Frank O. Henry and it was established in 1997 in Bilbao, Spain. The building is often praised as a “single moment in the architectural culture.” This building is considered as the most innovative and magnificent example of Deconstructivism. The first three years of opening of the building saw the incoming of 4 million tourists and a collection of about €500 million as revenue.
EXPLORING IDENTITIES The nature of time is to move on and so should be the nature of objects involved with it. Changes must happen in the trends of architecture with respect to time. This is also important because at urban level it plays a significant role in the development of the society. Jochen Dreher, a German researcher, has explained an individual’s life in the dimensions of time, space and the social world in his work “The Symbol and the theory of life-world: The transcendences of the life-world and their overcoming by signs and symbols�16. He argues that the development of society has to start from micro level and the most basic component of a society is an individual person. As it is well known that time lends experience to the individuals, which enhances their capability of perceiving different situations and their way of thinking. Gradually, the same happens with the people surrounding that person and ultimately to the whole society. This is the simplified chain which explains what role time plays in the development of society. There is a need to bring change in the approach of architects and all the other stakeholders. Before thinking of giving meaning to space, their priorities should be the changing demands of people with time, the changing context and environment and society.
16
Jochen, Dreher The symbol and the theory of life-world: The transcedences of the life-world and their overcoming by signs and symbols.Konstanz: Springer, pp. 141-143. (2003).
EXPLORING IDENTITIES
Bibliography
1. Cassirer, Earnst. A Philosophy of Symbolic Forms: Between Reason and Relativism. Yale University Press, 1953. 2. Dreher, Jochen. The symbol and the theory of life-world: The transcedences of the life-world and their overcoming by signs and symbols. Konstanz: Springer, 2003. 3. Finkelpearl, Philip. Contemporary Confrontations. University of California Press, 1979. 4. Rimmer, Scott. The Symbolic Form of Architecture. Virginia, 1997. 5. Venturi, Robert Charles. Complexity and Contradiction in Architecture. Modern Art Press, 1966. 6. Venturi, Robert Charles. From Invention to Convention in Architecture. Royal Society of Arts, 1988. 7. Venturi, Robert Charles. Iconography And Electronics Upon A Generic Architecture : A View From The Draft Room. MIT Press, 1996. 8. Venturi, Robert Charles, and Denise Scott Brown. Architecture as Signs and Systems: For A Mannerist Time. Harvard University Press, 2004. 9. Venturi, Robert Charles, Denise Scott Brown, and Steven Izenour. Learning from Las Vegas. Cambridge: MIT Press, 1972. 10. Venturi, Robert Charles, and Denise Scott Brown, interview by Oscar Oliver and Marcelo Lopez Dinardi. A Discussion About Rhetoric, the “Learning from...” 11. Venturi, Robert Charles, and Denise Scott Brown, interview by Dörte Kuhlmann. Signs and Systems