The Pedagogy Chronicles
Thomas White 1500889 Cultural Context 02
“The inevitable flatness of floors interest me” Peter Eisenman in conversation with Preston Scott Cohen The interview by Peter Eisenman with Preston Scott Cohen discusses pedagogy, through three topics which overlap throughout the discussion to justify Cohen’s opinion on: the problem, his project and the solution. Cohen being the chair of architecture at Harvard university for twenty years, is an important figure in pedagogy and has taught and controlled the curriculums for the prestigious university and therefore have seen the changes in education. This in contrast with Eisenman’s background of being one of the New York five with their modernist views (see Fig.1), challenges the idea of traditional teachings and its purpose.
Task 01
Fig.1 Four of the New York Five mocking Skyscraper architects (1995)
Post-Modernism Ruined Traditional Precedents The first topic being discussed is the issue that “there seems to be a lack of interest in precedent.� (Eisenman, 2013:27). Cohen agrees but blames Eisenman and his modernist views of radically evacuating architecture of meaning (Eisenman, 2013:27). Eisenman disagrees and believes he was eradicating meaning not precedent as it is a fundamental part of architecture. (see Fig.2)
Fig.2 House VI by Peter Eisenman Challenges a tradition house design (1975)
Task 01
The Problematic Koolhaas villain Cohen accuses Rem Koolhaas of being the master curator of this, through the crime of urbanism as “architects look at the city and think it is good as it is” (Eisenman, 2013:8). This portrays contemporary architects and students, as the victims of the Koolhaas villain, through Koolhaas’ idea that the city should naturally develop and that design should only add to it and not control it(See Fig.3).
Task 01
Fig.3 Rem Koolhaas section of Downtown Athletics club by Starret & Van Vleck (1930)
Architects are the new politicians Cohen disagrees and believes that design should direct society. Therefore, making designers the new politicians and authorities of society. Cohen then incriminates Koolhaas as being fraudulent, because his architecture controls the city, such as in his CCTV headquarters project (see Fig.4). Through its dominating facades and engineering which Cohen believes is an example of how “his architecture resists the always changing city� (Eisenman, 2013:30). This is through the engineering that is built to last and not adapt. (Eisenman, 2013:30).
Fig.4 CCTV Headquarters By OMA (2012)
Task 01
The Problem This therefore describes Koolhaas as the deceiving libertine towards contemporary design. Consequently, making designers unconcerned with precedents, as it is only about adding to the city and not the idea that the past has shaped the future.
Past Problem Fig.2 House VI by Peter Eisenman Challenges a tradition house design (1975)
Task 01
Contemporary Problem Fig.4 CCTV Headquarters By OMA (2012)
Internal Knots vs Exterior Pretzels The next topic questions project. Cohen believes his projects is “creating knots in space” (Eisenman, 2013:33). Cohen believes that these knots combat the urbanism crime, as knots are the inversed vigilante. Eisenman depicts designers such as Frank Gehry (see Fig. 5) as designers of “pretzels on the outside and dumb insides” (Eisenman, 2013:33). Cohen also believes the knot is the path towards success, through the idea that he designs dumb outsides and knots inside.
Fig.5 The Guggenheim by Frank Gehry
Task 01
The Project Cohen is “interested in the inevitable flatness of floors� (Eisenman, 2013:33), and believes that they can be escaped internally, as the interior is an environment where you have an encounter with architecture (Eisenman 2013:34). Cohen then uses his building in Tel Aviv (see Fig.6) as an example where the interior exposes the architectural thought process and not the facade. For this reason, Cohen believes that pretzels misguide architects from the significant factor of the interior which accommodates the optimum amount of architectural language.
Fig.6 Tel Aviv Museum of Arts by Preston Scott Cohen (2011)
Task 01
Applying the Knot The concluding topic is the problem that institutions need to expand. Cohen agrees and applies the conundrums that he sets his students, which are “series of plans that couldn’t possibly be resolved” (Eisenman, 2013:30). This then directs students to both the key elements of the knot and precedents. Through the adaption of knots to make the building function and making the exterior the secondary element, as the interior solves the spatial problem(see Fig.7).
Fig.7 Tel Aviv Museum of Arts by Preston Scott Cohen (2011)
Task 01
Alberti the Foundation The students then seek precedents to support this process. Cohen then believes that “Alberti is the key introduction to history” (Eisenman, 2013:38), as he explains Alberti as the creator of “architectural id” (Eisenman, 2013:38) and that he is the starting point for students to make a change( see Fig.8).
Fig.8 San Andrea Mantua Plan by Leon Battista Alberti (1470)
Task 01
The Interior solution through Precedent To conclude Cohen therefore believes that to improve pedagogy, students need to be faced with an interior problem of a building, which leads to sourcing traditional precedents to understand architectural language and solving it internally.
Precedent
Solution
Task 01
Fig.8 San Andrea Mantua Plan by Leon Battista Alberti (1470)
Fig.7 Tel Aviv Museum of Arts Plan by Preston Scott Cohen (2011)
Bibliography Cohen, P. S (2008) Performalism.Tel Aviv: Tel Aviv Museum of Art. Cohen, P.S. (2008)’ What about the inside’ In: Harvard Design Magazine 29 pp. 13-15. Eisenman, Peter & Koolhaas, Rem (2009) Supercitical: Architecture words 1. London: AA publications. Eisenman, Peter & Roman, Matt (2016) Palladio Vituel. New Haven: Yale University press. Eisenman, Peter (1975) Five Architects. Oxford: Oxford press. Eisenman, P. (2013)’ The inevitable flatness of floors interest me’ In: Stocktaking 28 pp.28-38. Gehry, Frank (2003) Gehry Talks: Architecture and Process. London: Thames and Hudson publications. Koolhaas, Rem (1994) Delirious New York: A retroactive manifesto for Manhattan. New York: Monacelli press. Cohen, P.S (2001) Preston Scott Cohen INC At: http://www.pscohen.com/ (Accessed on :10.10.16) Eisenman, P (2000) Eisenman Architects At http://www.eisenmanarchitects.com/ (Accessed on 10.10.16) Gehry, F (2001) Frank Gehry Partners At http://www.foga.com/ (Accessed on 20.10.16) Koolhaas, R (2001) OMA At: http://oma.eu/ (Accesssed on: 15.10.116) Tel Aviv Museum of Art’s (2011) Tel Aviv Museum of Arts At: http://www.tamuseum.org.il/(Accessed on: 12.10.16)
Task 01
List of illustrations Fig.1 Four of the New York Five mocking Skyscraper architects (1995) [photograph] At: http://cardboarders. com/2015/architecture-costumes/ (accessed on 10.10.16) Fig.2 House VI by Peter Eisenman Challenges a tradition house design (1975) [photographs] At: http://www. archdaily.com/63267/ad-classics-house-vi-peter-eisenman (accessed on 14.10.16) Fig.3 Rem Koolhaas section of Downtown Athletics club by Starret & Van Vleck (1930) [scan & photograph] At: http://www.ibiblio.org/istudio/r_koolhaas/reading_koolhaas.htm (accessed on 20.10.16) Fig.4 CCTV Headquaters By OMA (2012) [photographs] At:http://oma.eu/ (accessed on 29.10.16) Fig.5 The Gugenheim by Frank Gehry (1997) [photographs] At:http://www.foga.com/ (accessed on 1.11.16) Fig.6 Tel Aviv Museum of Arts by Preston Scott Cohen (2011) [photographs] At: http://www.pscohen.com/ (accessed on 15.11.16) Fig.7 Tel Aviv Museum of Arts by Preston Scott Cohen (2011) [photographs] At: http://www.pscohen.com/ (accessed on 15.11.16) Fig.8 San Andrea Mantua Plan by Leon Battista Alberti (1470) [scanned drawing] At: https://uk.pinterest.com/ pin/360710251378707566/ (accessed on 20.12.16)
Task 01
’Keynote Presentation on ‘Risk’ by Lesley Lokko In relation to the theme of pedagogy, the lecture by Lesley Lokko at The Bartlett discusses how it differs in the Southern hemisphere and specifically in South Africa, where she has set up the Graduate School of Architecture in Johannesburg. Lokko talks about ‘Risk’ in relation to architectural pedagogy and how creating a school and curriculum that was unheard of in South Africa was the way forward. Lokko discusses this idea in the form of five topics; The scene of the crime, A rather novel idea, The discussion of downtown, The Eclectic atlases and the risk/ reward. These topics outline her hypothesis and the timeline of the process.
Task 02
Fig.1 Africa continent and South Africa (2011)
The scene of the crime Lokko starts the argument by underlining the Apartheid history and starts the timeline at the “establishment of democracy in South Africa” (Lokko,2016) in 1994, which accentuates the delay for the modern identity of South Africa. This is described by Lokko as “permanent reminder of what should not be” (Lokko,2016) through the architecture created and left behind by the Apartheid regime, this being constructed passively by Hendrik Verwoed designated the “architect of Apartheid” (Lokko,2016). Therefore, refreshing the divided past of the South African identity with every building its past. This then accumulates the argument that South Africa has yet to architecturally produce a “relevant, modern, and accessible curriculum” (Lokko,2016).
Task 02
As an email Lokko received from a student (see Fig.2) who was funded to go to Archiprix. states that “we think we are proposing ground breaking ideas… they look like washed up versions of other people’s ideas” (Watkins,2016). This indicates the students displeasure of the curriculum which needs reforming to compete with the rest of the world, as the student felt overshadowed when visiting Archiprix. This consequently being solved partially by the Northern hemisphere through guidance and not dictation.
Task 02
Fig.2 Long and Overdue email (2016)
A rather novel idea Reformation in South African ideology however has two factors in the equation, the first being northern hemisphere guidance and the other being the establishment of their own identity. This identity crisis is underlined in the African fictional novel Elizabeth Costello “African writers may be writing about Africa but seem to be glancing over the shoulders at the foreigners who will read them” (Coetzee, 2004:115). This describes the crisis by making the African the interpreter rather than the investigator, as Lokko describes this as an “impossible task” (Lokko,2016) because Africans need to understand their own identity before they can interpret it. Therefore, making it essential to do this in stages, starting at investigation and ending at interpretation. This applies to South Africa’s architectural identity, as students need to explore their identity before they can establish it. Task 02
The Discussion Downtown Lokko believes exploring African identity through drawing. This was inspired by The Drawing Ambience exhibition (see Fig.3), which displayed drawings from prestigious architects exploring their imaginations. Lokko wanted to apply this and believed that this freed the students from performing Africa and instead allowed them to interrogate it, through “exploration and not explanation� (Lokko,2016).
Task 02
Fig. 3 Drawing Ambience by Alvin Boyarsky (2015)
Therefore, allowing students to visually experiment with their own perceptions of African identity. However, when analyzing this, Lokko is only in the early stages of this process, as the students are still exploring identity and are yet to start establishing it, but will however progress to the establishment stage through the understanding of drawing (see Fig.4).
Task 02
Fig. 4 Drawing Ambience Drawings by Alvin Boyarsky (2015)
Eclectic Atlases Guidance of Africa through other parts of the continent can establish South Africa’s identity. This led to a successful project called “crossings” derived from the idea of “travel and see” (Lokko,2016) which takes the students around Africa to gain an understanding. A very crucial destination was the Island of Cape Verde, which was a Portuguese colony until 1975, like South Africa’s colonial past. However, it was discovered that the island embraced its miscegenation of Portuguese and Creole through culture and architecture, taking elements from both to work correlatively (see Fig.5).
Task 02
Fig. 5 GSA Cape Verde field trip (2016)
This therefore provides the direction for South African identity, as this can be applied to the Dutch and African history of the students (see Fig.6) and how they can embrace their personal and collective identity. However, this is only in the early stages of the understanding process, but has paved another mentality for the students. Britain
Task 02
Orange free state (Holland)
South African Republic
Fig. 6 South Africa’s Cultural Background (2008)
Conclusive Risks & rewards Analyzing the four themes Lokko explains that “education is all about trust� (Lokko,2016) and that trust and risk are usually dissociated, as the riskier something is the less trustful it gets. However, Lokko believes these risks are left with the students and that tutors create the trust through support. Therefore, allowing the students their own identity through, guidance, imagination and investigation which create the rewards.
Task 02
Analyzing the Argument The hypothesis of risk in architectural pedagogy, in the southern hemisphere is producing architectural identity. This is through investigation in to vocabularies, forms, materials, programs and conditions which will produce their own architectural language. Therefore, initiating a strong argument but has been purposely left open, to allow others to try and imagine the outcome, as it is infinite. In contrary to this Cohen’s idea in task one provides another direction through the idea of precedent, which has been discussed by lokko, through the idea of “travel and see” (Lokko,2016). Cohens idea applied to this would be to seek Africa’s version of Alberti so that the start of their identity can be distinguished, therefore allowing them to build upon this.
Task 02
Bibliography Coetzee, J.M (2004) Elizabeth Costello. New York: Vintage Books. Eisenman, P. (2013)’ The inevitable flatness of floors interest me’ In: Stocktaking 28 pp.28-38. Fernando-Galiano,Luis(2011) Atlas: Africa and Middle East - Atlas Architecture of the 21st Century. Madrid: Fundacion BBVA. Koolhaas, Rem (2001) Mutations.New York: ActarD Inc. Lafferriere, Dany (1994) Why must a Black writer write about sex? Toronto: Coach House press. Leyden,N.V (1996) Africa95. A Critical Assessment of the Exhibition at the Royal Academy.In: Cahiers d'études africaines 141 pp.237-241. Lokko,L (2016)’Keynote Presentation on ‘Risk’ London [Lecture athttp://vimeo.com/bartlettarchucl, May 2016] Marjanovic,Igor (2015) Drawing Ambience: Alvin Boyarsky and the Architectural Association. Washington: mildred Lane Kemper Art museum. Nuttal, Sarah & Mbembe, Achille Johannesburg: The elusive metropolis. Durham: Duke university press. Wainaina, Binyavanga (2008) How to write about Africa.Nairobi: Kwani Trust. Watkins,D (2016) Long and overdue [Email sent to Lesley Lokko 10th Febuary 2016] Architectural Association (2000) Architectural Association School of Architecture At: www.aaschool.ac.uk (accessed on 20.11.16) Dogma (2011) Dogma At: http://www.dogma.name/ (Accessed on 5.11.16) UCL (2000) The Bartlett School of Architecture At: http://www.bartlett.ucl.ac.uk/architecture (Accessed on 10.11.16) University of Johannesburg (2011) Graduate School of Architecture At: www.uj.ac.za (Accessed 13.10.16)
Task 02
List of illustrations Fig.1 Africa continent and South Africa (2011) [satellite image & drawing] http://www.worldatlas.com/webimage/countrys/af.htm ( accessed on 20.11.16) Fig.2 Long and Overdue email (2016) [email screenshotted] At: http://vimeo.com/bartlettarchucl (accessed on 15.11.16) Fig. 3 Drawing Ambience by Alvin Boyarsky (2015) [photographs] At:https://ideaexchange.org/art/exhibition/ drawing-ambience-alvin-boyarsky-and-architectural-association (25.11.16) Fig. 4 Drawing Ambience Drawings by Alvin Boyarsky (2015)[photographs] At: https://ideaexchange.org/art/ exhibition/drawing-ambience-alvin-boyarsky-and-architectural-association (accessed on 25.11.16) Fig. 5 GSA Cape Verde field trip (2016) [photographs] At: http://vimeo.com/bartlettarchucl (accessed on 25.11.16) Fig. 6 South Africa’s Cultural Background (2008) [illustration] At: https://www.flagsoftheworld.co.uk (accessed on 12.12.16)
Task 02
“Origins” by Ordinary Architecture The “Origins” exhibition by Ordinary Architecture challenge the “myths” of architectural origins, through the five elements that make up the architectural equation. These elements work in chronological order and are: 1. Construction, 2. Space, 3. Shelter, 4. Decoration and 5. Precedent. These elements are exhibited through both prints and sculptures which are distributed throughout Burlington House in the Royal Academy of Arts. This creates an interactive wild-goose chase in search of these historical myths and therefore makes the visitors the architectural historians in search of knowledge gained from each element.
Task 03
Exhibition introduction The exhibition starts on the lower ground floor in the Architectural exhibition space (see Fig.1), where nine simple line drawings, one photographic print and 3 pieces of text are displayed. This at first glance was underwhelming, as each print were visually the “ordinary� line drawings that architects produce on an every-day basis. This makes the viewers want to study it further, especially when having travelled to see this one exhibition, as there is no clear sense of what is happening.
Task 03
Fig. 1 Architectural exhibition space (2016)
However, with further investigation, the concept is unraveled. The prints on the left outline the five elements and the corresponding prints are each element put in to an architectural context (see Fig.2), which introduce the story but leaves a sense of uncertainty so that the viewers are seeking more.
Task 03
Fig. 2 The elements applied to context (2016)
This purposeful approach makes the visitors head for the exit thinking “that, was it?� where they stumble upon a plan of Burlington House which highlights each element and their locations(See Fig.3). Therefore, inaugurating the architectural wild goose chase in search of more information.
Task 03
Fig. 3 Burlington House Plan (2016)
1. construction The first element of construction is the most disguised of all the elements, due to the spaces busy nature and was passed obliviously to get to the architectural space. However, when returning within a few minutes of architectural Easter egg hunting it was discovered that the installation was a print located on the ceiling (see Fig.4).
Task 03
Fig. 4 Main hall Construction installation (2016)
This print shows “four segments each represent an element integral to the construction of architecture, corresponding to the subject of West’s absent imagery: ventilation (air), plumbing (water), groundworks (earth) and heating (fire).”(Holland,Ward,2016) and is a temporary replacement of artwork as “These five panels are usually home to paintings by Benjamin West PRA (1738–1820) depicting the “Graces unveiling nature”( Holland,Ward,2016). This therefore using the existing to portray construction (see Fig.5).
Fig. 5 Construction elements diagram & Graces unveiling nature (2016)
Task 03
2. Space When ascending the staircase in search of “space� there are clues in the form of two large prints that hint at the sculptures proximity (see Fig.6), where the second element of space is discovered at the top of the staircase quintessentially concealed by two columns.
Fig. 6 Space Location diagram & Space prints (2016)
Task 03
These installations continue the theme of replacement as “Usually these niches contain bronze statues of the painters Thomas Gainsborough (1727–88) and J.M.W. Turner (1775–1851). “(Holland, Ward,2016) the historical statues are replaced with opposing the architectural philosophies are opposite each other to highlight this. These oppositions represent the two influential points in architecture, the Roman era column and the transition era of modernism through the I beam (see Fig.7). Both very controversial as they challenge each other for their relevance.
Fig. 7 Space staircase location & the columns/ I beam installation (2016)
Task 03
3. Shelter The shelter element is the least hidden of all the installations and hits the visitor like a punch, when entering the staircase (see Fig.8). This installation uses “ethically sourced� animal hides. Each is printed with a repeating pattern of recognizable elements of wall or roof construction: brick, tiles, stone cladding and shingles� (Holland, Ward, 2016)
Fig. 8 Shelter installation location (2016)
Task 03
To represent roof construction materials and challenges the materials structural stability by revealing “their softness and pliability “,(Holland, Ward 2016), making it appear unstable through the flexibility of the material (see Fig.9). However, this installation seems the least convincing, as its location does not relate to the idea of shelter and would instead make more sense suspended from the ceiling.
Task 03
Fig. 9 Shelter installations (2016)
4. Decoration once climbing the last staircase, the fourth installation is discovered in the main gallery in between two decorative sculptures. This time revealing a sculpture with relevance to the Royal Academies architecture, “the classical cornice of the Main Galleries, built by the architect Sydney Smirke RA (1798–1877)”( Holland, Ward, 2016) as it symbolizes cornices that are on display in the main gallery (see Fig.10).
Task 03
Fig. 10 staircase location and Decoration installation (2016)
These cornices represent the Cornish and Essex profile and the architect Sydney Smirke’s personal experience of an enjoyable seaside visit (see Fig.11). This emphasizes these elements by informing the visitors of them as well as celebrating them.
Task 03
Fig. 11 Decoration diagram & the Royal Academies cornices in section(2016)
5. Precedent The last element is hidden behind the dramatic doors of the print room for added intensity, to reveal the pure white and well-lit sculpture (see Fig.12). This being the most important element is relevantly placed in the archives of the Royal Academies architectural drawings� These range from a rare 16th-century edition of the treatise by Ancient Roman architect, Vitruvius, to works by contemporary architectural theorists such as Joseph Rykwert “(Holland, Ward,2016)
Task 03
Fig. 12 Precedent installation & the precedent drawing (2016)
where Vitruvius’s “Corinthian order” has been reappropriated as the “greengrocer’s order” (see Fig.13) ” inspired by the acanthus leaves of the capital of the Corinthian order, but replaces this motif with plastic ‘fruit and veg’ …that celebrates the everyday architecture of the high-street shopfront.”( Holland, Ward,2016). This informs the visitor of a very significant starting point in architecture and shows comically how the order can be relevant in contemporary architecture.
Task 03
Fig. 13 Greengrocers order before and after & Vitruvius’s Corinthian Order (2016)
Conclusion In conclusion, Ordinary Architecture use the basic elements successfully to inform and associate the visitors with architecture. However, when analyzing these the least informing was the Shelter installation as the use of material and location have the least relation when compared the rest of the elements. Nonetheless most of the exhibition was successful and create pedagogy through a range of media. The exhibition also highlights the significance of precedent which relates to both tasks one and two, as they also use precedent in architecture as their solution, therefore fabricating precedent as the answer to the architectural equation.
Task 03
Bibliography Eisenman, P. (2013)’ The inevitable flatness of floors interest me’ In: Stocktaking 28 pp.2838. Holland,C & E, Ward (2016) Origins by Ordinary Architecture. London: Royal Academy of Arts. Holland,C & E, Ward (2013) Ordinary Architecture At: http://www.ordinaryarchitecture.co.uk/ (Accessed on 10.11.16) Holland,C & E, Ward (2015) ‘Past Pleasures ’In https://www.ribaj.com/culture/at-the-end-of-the-pier 08.06.15 (Accessed on 10.12.16) Holland,C & E, Ward (2014) ‘In praise of the greengrocer's shop’ In https://www.ribaj.com/culture/in-praise-ofthe-greengrocers-shop 14.08.14 (Accessed on 10.11.16) Holland,C & E, Ward (2014) ‘A life more ordinary ’In www.ribaj.com/culture/A-Life-More-Ordinary 23.07.14 (Accessed on 14.12.16) Lokko,L (2016)’Keynote Presentation on ‘Risk’ London [Lecture athttp://vimeo.com/bartlettarchucl, May 2016] Mertins,Delef (1996) The presence of Mies.New York: Princeton architectural press. Venturi, Robert, Scott-Brown, Denise & Steven Izenour (1977) Learning From Las Vegas. Massachusetts: MIT press Royal Academy (2000) Royal Academy of Arts At: https://www.royalacademy.org.uk/exhibition/originsordinary-architecture (Accessed on 10.11.16)
Task 03
List of illustrations Fig. 1 White.T. Architectural exhibition space (2016) [photograph] in possession of: the author:London. Fig. 2 White.T. The elements applied to context (2016)[photograph] in possession of: the author:London. Fig. 3 White.T. Burlington House Plan (2016)[photograph] in possession of: the author:London. Fig. 4 White.T. Main hall Construction installation (2016) [photograph] in possession of: the author:London. Fig. 5 Construction elements diagram & Graces unveiling nature (2016) [diagram] At: https://www.royalacademy.org.uk/exhibition/origins-ordinary-architecture (accessed on 10.11.16) Fig. 6 Space Location diagram (2016) [diagram] At: https://www.royalacademy.org.uk/exhibition/origins-ordinary-architecture (accessed on 14.11.16) & White.T. Space prints (2016) [photograph] in possession of: the author:London. Fig. 7 White.T. Space staircase location(2016) [diagram] At: https://www.royalacademy.org.uk/exhibition/ origins-ordinary-architecture (accessed on 14.11.16) & White.T. the columns/ I beam installation (2016) [photograph] in possession of: the author:London. Fig. 8 Shelter installation location (2016) [diagram] At: https://www.royalacademy.org.uk/exhibition/origins-ordinary-architecture (accessed on 14.11.16) Fig. 9 White.T. Shelter installations (2016) [photograph] in possession of: the author:London. Fig. 10 White.T. staircase location and Decoration installation (2016) [photograph] in possession of: the author:London. Fig. 11 Decoration diagram (2016) [diagram] At: https://www.royalacademy.org.uk/exhibition/originsordinary-architecture (accessed on 14.11.16) & White.T. the Royal Academies cornices in section(2016) [photograph] in possession of: the author:London. Fig. 12 White.T. Precedent installation (2016) [photograph] in possession of: the author:London.& the precedent drawing (2016) [photograph] At: https://www.royalacademy.org.uk/exhibition/origins-ordinaryarchitecture (accessed 14.11.16) Fig. 13 Greengrocers order before and after & Vitruvius’s Corinthian Order (2016) [photographs] At: https:// www.royalacademy.org.uk/exhibition/origins-ordinary-architecture (accessed on 14.11.16)
Task 03
Learning From Las Vegas by Robert Venturi, Denise Scott Brown & Steven Izenour Learning from Las Vegas interrogates the controversies of modern architecture by questioning the modern decision to remove symbolism, through comparison with the past and contemporary in the form of four genealogic studies. These are: Learning from Las Vegas, The Decorated Shed vs the Duck, Towards an Old Architecture and the theory of the Ugly and Ordinary. Each study will be compared with the past three tasks and how they form a correlation or disagreement with the ideas expressed.
Task 04
Learning from Las Vegas This study explores the signage of Las Vegas and its success in modern architecture, through the idea of architecture as a symbol before form. The authors argue that “Jack Benny under a classical pediment with shell oil beside him� (Venturi, Brown, Izenour,1977:53) is the architecture of inclusion, as the use of symbols represent the broad spectrum of our consumerist modern society and signifies the signage before the architecture itself (see Fig.1).
Task 04
Fig. 1 Las Vegas signs (1975)
This is because the signs as symbols clearly represent the function of the spaces behind them, therefore providing consumers with the information necessary to make decisions on entering, and does not disturb the fast-paced atmosphere (see Fig.2). The authors see this as successful architecture, as it provides a variety of necessities in one place with clear directions.
Task 04
Fig. 2 Las Vegas fast-paced strip (1975)
This in relation to the Decoration element in the Origins exhibition corresponds with the symbolism in architecture, as the Cornice is a symbol of seaside geographical pleasure, like Las Vegas’ itself, a City constructed on “peoples pleasure” (see Fig.2). Thus, indicating the use of architecture as a symbol in the form of both past and contemporary architecture, through the Royal Academies symbolic cornices of the past and the Las Vegas signage of the contemporary. Therefore, showing the relevance of symbols in architecture through its success to serve people in both past and present through the aspect of pleasure.
Fig. 3 Las Vegas fast-paced strip (1975) = Decoration installation (2016)
Task 04
The Decorated Shed vs The Duck This study applies a hypothesis to the idea of architectural symbolism, as it argues in favour of a Decorated shed over a Duck in architecture (see Fig.4). The Duck (based on the “long island duckling” Blake 1964:101) being “space, structure and program submerged and distorted by an overall symbolic form” Venturi, Brown, Izenour,1977:87)
Fig. 4 The Long Island Duckling (1964) & Duck Diagram (1975)
Task 04
and the decorated shed being “space and structure directly at the service of the program, and ornament is applied independently� (Venturi, Brown, Izenour,1977:87). This describing buildings of striking formal qualities as nothing other than form therefore making it a duck and buildings of an ordinary nature with symbols as a decorated shed (see Fig.5).
Fig. 5 Road scene from Gods own Junkyard (1964) & Decorated Shed diagram (1975)
Task 04
This in relation to the idea of Ugly and Ordinary against Heroic and Original architecture justifies the simplicity of a decorated shed for its morality over a duck, as Ugly and Ordinary architecture being a decorated shed serves the purpose of function while being ornamented, as a heroic and original duck is an architectural ego-boost.
Task 04
The authors then implement this with the comparison of their own building the Guild House to the Crawford Manor by Paul Rudolph (see Fig.6) by stating “all its commonness is Guild House boring? For all its dramatic balconies is Crawford Manor interesting?� (Venturi, Brown, Izenour,1977:101) This explains the Guild House as being the decorated shed for its commonness while the Crawford Manor as the Duck because of its dominating formal balconies. As the balconies are unnecessarily ornamental in form while the Guild house is basic in form with a television antenna as its symbol making it an Ugly and Ordinary Decorated Shed.
Fig. 6 Guild House & Crawford Manor (1975)
Task 04
However, when applying this to task one and Cohens project of creating “dumb outsides and knots insides� (Eisenman, 2013:33) the duck ideology agrees with the dumb outsides idea making form less significant, while the decorated shed completely disagrees. This is because ducks are considered knots outside because of their completely overriding form, but knots inside would also be considered ducks, as knots would be considered too architectural because of its relation to sacred space making them more Heroic and Original internally (see Fig.7). Therefore, showing that Cohen would be designing ducks internally but would be designing undecorated sheds outside because of his belief in the removal of formal symbols, consequently questioning the relevance of Cohens ideology.
Fig. 7 Tel Aviv Art museum = Duck Diagram (1975)
Task 04
Towards an Old Architecture This study examines architectural history and how modern architects have replicated historical structures but are arguing against association with it (see Fig.8). The author Venturi criticizes his infamous enemy Ludwig Mies van der Rohe for his theory on removal of ornamentation by stating “Less may have been more but the I-section on Mies van der Rohes fire resistant columns [‌] is as complexly ornamental as the applied pilaster on the renaissance pierâ€? (Venturi, Brown, Izenour,1977:114)
Fig. 8 Mies Van Der Rohe I beam = renaissance pier (2005)
Task 04
which shows that Rohes influential beams were seen more decorative than necessary, as the beams made the process much more complicated in engineering and was therefore economically unethical than using traditional columns of thickness. This therefore describing the I beam as more spatial ornamentation than conventional structure , outlining the idea of the Heroic and Original as being egocentric, because the architect uses the unneeded (see Fig.9).
Fig. 9 Mies Van Der Rohe I beam (2005) = Duck (1975)
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This in context with the Space element in the origins exhibition coincides with this, as the installation highlights this controversy by using the I beam and column to highlight their opposition. Consequently, the focus on sacred space as the ideology of Rohe himself, has outlined his hypocrisy through the idea that conventions have been pushed aside so that the space has only been made sacred for him and not the peoples necessities (see Fig.10). Therefore, signifying precedent, as it has not only been the most important factor in all tasks, but also underlines the argument that modern architects deny ornamental precedent and re-appropriate it in to their own symbolic ego and not symbolize the area around them like renaissance symbols.
I< Task 04
Fig. 10 I beam I< column(2016)
The Theory of Ugly and Ordinary This study challenges megastructures for their morality and suggests an ultimatum solution. This is by criticizing total design by stating â&#x20AC;&#x153;Total design is the opposite of the incremental city that grows through the decision of manyâ&#x20AC;? (Venturi, Brown, Izenour,1977:149) which supports the idea that Heroic and Ordinary architecture is more egotistical, as total design is dictated by the architect (see Fig.11) without any other input, therefore questioning the morality of total design, as it is not the majorities opinion.
Fig. 11 Chandigarh =Duck (1975)
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The authors then support this by stating â&#x20AC;&#x153;Only the very poor, via public housing are dominated by architectsâ&#x20AC;? (Venturi, Brown, Izenour1977:154-5) showing that the most vulnerable are being manipulated, as they have no other option (see Fig.12). Service ducts = building as decoration
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Fig. 12 Trellick Towers council housing, London (2005) = Duck (1975)
This then brings authors to the idea of Suburbia, where people can make their own architectural decisions due to wealth, which create contrasting results. This reiterates the idea of Ugly Ordinary architecture, as Suburbia replicates the peopleâ&#x20AC;&#x2122;s architecture through their own decisions which to architects would be ordinary decisions (see Fig.13). Therefore, constructing the ultimatum in which Ugly and ordinary architecture as a decorated shed, is the moralistic approach that architects should take, as it is suggested by the majority with the opportunity in suburbia, therefore making architecture about people again rather than the architects ego.
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Fig. 13 Suburban signs diagram (1975)
This ultimatum in relation to the dilemma faced by Lokko in task two, shows that the need for reform in architecture is widely relevant, as even though South Africa is in search of its architectural identity, reform was necessary to get there. Therefore, showing the significance of seeking precedence to allow reform, to establish a more moralistic architectural identity (see Fig.14).
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Fig. 14 Ugly & Ordinary Decorated Sheds = Answer (1975)
Conclusion Having analyzed the argument of the author with the three tasks, it shows the significance of the Ugly and Ordinary Decorated Shed and its relevance 40 years later. As all the tasks emphasize precedent as the most important factor, showing that it is relevant to use the past to reform the future. However, it does contradict Cohens spatial knot and rightfully questions the need for an architectâ&#x20AC;&#x2122;s referendum as the solution over what the people want and need, therefore highlighting the problem in architecture. This problem of has also recently been addressed by the likes of RuralStudio, to produce Cost-Effective architecture, which conclusively makes architecture ethical.
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Fig. 15 RuralStudio $20,000 homes project (2005-08)
Bibliography Blake,Peter (1964) Gods own Junkyard. Texas: Holt, Rihehart & winstone. Cohen, P.S. (2008)’ What about the inside’ In: Harvard Design Magazine 29 pp. 13-15. Eisenman, P. (2013)’ The inevitable flatness of floors interest me’ In: Stocktaking 28 pp.28-38. Mertins,Delef (1996) The presence of Mies. New York: Princeton architectural press. Rudolph,Paul (2009)Writings on Architecture. New Haven: Yale University press. Venturi, Robert (1990) My Mother’s House. New York: Rizzoli International Publications. Venturi, Robert, Scott-Brown, Denise & Izenour, Steven (1977) Learning From Las Vegas. Massachusetts: MIT press Venturi, Robert (1998) Iconography and Electronics Upon a Generic Architecture: A View from the Drafting Room. Massachusetts: MIT press. Venturi,Robert (1984) Complexity and Contradiction in Architecture. New York: Museum of Modern Art. Holland,C & E, Ward (2016) Origins by Ordinary Architecture. London: Royal Academy of Arts. Lokko,L (2016)’Keynote Presentation on ‘Risk’ London [Lecture athttp://vimeo.com/bartlettarchucl, May 2016] Venturi, R, Scott Brown, D (2012) VSBA Architects and planners At http://www.vsba.com/ (Accessed on: 28.12.16) RuralStudio,(2000) RuralStudio website AT: http://www.ruralstudio.org/ (accessed on 29.12.16)
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List of illustrations Fig. 1 Las Vegas signs (1975) [photograph] At: http://www.vintag.es/2012/06/vintage-photos-of-las-vegas-in1950s.html (accessed on 12.12.16) Fig. 2 Las Vegas fast-paced strip (1975) [photograph] At: http://www.vintag.es/2012/06/vintage-photos-oflas-vegas-in-1950s.html (accessed on 12.12.16) Fig. 3 Las Vegas fast-paced strip (1975)[photograph] At: http://www.vintag.es/2012/06/vintage-photos-oflas-vegas-in-1950s.html (accessed on 12.12.16) = White.T. Decoration installation (2016) [photograph] in possession of: the author:London. Fig. 4 The Long Island Duckling (1964) In Blake.P. Gods Own Junkyard. Texas: Holt, Rihehart & winstone. & Duck Diagram (1975)In Venturi, Robert, Scott-Brown, Denise & Izenour, Steven. Learning From Las Vegas. Massachusetts: MIT press. Fig. 5 Road scene from Gods own Junkyard (1964) In Blake.P. Gods Own Junkyard. Texas: Holt, Rihehart & winstone. & Decorated Shed diagram In Venturi, Robert, Scott-Brown, Denise & Izenour, Steven. Learning From Las Vegas. Massachusetts: MIT press. (1975) Fig. 6 Guild House & Crawford Manor (1975) In Venturi, Robert, Scott-Brown, Denise & Izenour, Steven. Learning From Las Vegas. Massachusetts: MIT press. Fig. 7 Tel Aviv Art museum (2011) [photographs] At: http://www.pscohen.com/ (Accessed on 15.11.16) = Duck Diagram (1975) In Venturi, Robert, Scott-Brown, Denise & Izenour, Steven. Learning From Las Vegas. Massachusetts: MIT press. Fig. 8 Mies Van Der Rohe I beam = renaissance pier (2005) [photograph] At: http://sskypathawee.blogspot. co.uk/2013/02/ludwig-mies-van-der-rohe-ornament-and.html (accesssed on 22.12.16) Fig. 9 Mies Van Der Rohe I beam (2005) [photograph] At: http://sskypathawee.blogspot.co.uk/2013/02/ ludwig-mies-van-der-rohe-ornament-and.html (accesssed on 22.12.16) = Duck (1975) In Venturi, Robert, Scott-Brown, Denise & Izenour, Steven. Learning From Las Vegas. Massachusetts: MIT press. Fig. 10 I beam At: http://sskypathawee.blogspot.co.uk/2013/02/ludwig-mies-van-der-rohe-ornament-and. html (accesssed on 22.12.16) White.T I< column(2016) [photograph] in possession of: the author:London.
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List of illustrations continuation Fig. 11 Chandigarh =Duck (1975) In Venturi, Robert, Scott-Brown, Denise & Izenour, Steven. Learning From Las Vegas. Massachusetts: MIT press. Fig. 12 Trellick Tower council housing, London (2005)[Photograph] At: http://www.pastscape.org.uk/News. aspx?id=NewsItem57 (accessed on 20.12.16) = Duck (1975) In Venturi, Robert, Scott-Brown, Denise & Izenour, Steven. Learning From Las Vegas. Massachusetts: MIT press. Fig. 13 Suburbian signs diagram (1975) In Venturi, Robert, Scott-Brown, Denise & Izenour, Steven. Learning From Las Vegas. Massachusetts: MIT press. Fig. 14 Ugly & Ordinary Decorated Sheds = Answer (1975) In Venturi, Robert, Scott-Brown, Denise & Izenour, Steven. Learning From Las Vegas. Massachusetts: MIT press. Fig. 15 RuralStudio $20,000 homes project (2005-08)[photographs] At: http://www.ruralstudio.org/ (accessed on 29.12.16) Fig. 16 White.T The mechanics of one handed tearing (2016) [Diagram] in possession of: the author:London.
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Summary of ideas The four tasks link through architectural pedagogy, and aim to provide a solution for its reformation, as key figures in contemporary architecture from the 1970â&#x20AC;&#x2122;s to present day believe that architectural education needs to keep adapting. This starting in task one with Cohenâ&#x20AC;&#x2122;s the idea of the interior knot, then in task two with Lokkoâ&#x20AC;&#x2122;s idea of establishing architectural identity, then in task three through the idea of challenging historical precedent and in task four through the Ugly and Ordinary ethical decorated shed. These solutions all link through precedent, as all four use it as their starting point, creating the idea that all arguments believe that it is necessary to go backwards in history to be able to go forwards, to create the knot, identity, solution and ethical architecture.
Summary
To move forward however the key aspects of these arguments need to established. These being, the critical teaching of precedent to establish an identity of ethical and conventional architecture for the people and not the architect. This being learnt from precedents, which can be critically analyzed for their morality and purpose or adapted in to ethical and conventional ideas. Therefore, reforming architecture of its egotistical design and instead forming an ethical identity.
Summary
The toilet roll The output of this design will be a 125 x 108 mm paper inspired by the toilet roll. This coming from the idea of Ugly and Ordinary decorated shed, as the toilet roll is considered Ugly and Ordinary and becomes a decorated shed when applying symbolic illustration to it and not making it a symbol itself. This allows each teaching in the form of paragraphs to be removed and carried around singularly or as a roll because of it pocket size. Therefore, allowing architects and students to be able to carry around what is a considered a necessity. Tearing point
Tearing directions
Toilet Roll
Fig. 16 The mechanics of one handed tearing (2016)