Dissertation : Ideology & Honesty in Architecture

IDEOLOGY AND HONESTY IN ARCHITECTURE ARCHITECTURAL DUALITIES, CONTRADICTIONS and THE LIE THAT REVEALS THE TRUTH

GUIDE: Ryan Christopher Sequeira CO-ORDINATOR: Leon A. Morenas

Vikram Bengani A/2433/2012 Monday, November 16, 2015 Year Four, Section – A

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TABLE OF CONTENTS TABLE OF FIGURES ...................................................................................................... 4 ABSTRACT .................................................................................................................... 7 INTRODUCTION ............................................................................................................... 9 RESEARCH QUESTION ............................................................................................... 11 AIMS ........................................................................................................................... 11 OBJECTIVES ............................................................................................................... 11 SCOPE ....................................................................................................................... 11 LIMITATIONS ............................................................................................................... 12 METHODOLOGY ............................................................................................................ 14 FRAMEWORK ................................................................................................................. 17 CRITERIA FOR SELECTION OF CASE STUDY............................................................... 19 DISCOURSE ................................................................................................................... 20 TYPES & PARAMETERS OF HONESTY......................................................................... 24 TERMINOLOGY and DEFINITIONS ................................................................................... 28 LITERATURE ................................................................................................................... 33 CASE STUDIES & ARGUMENTS...................................................................................... 38 Oakland Cathedral vs Church of St. Vincent Ferrer ..................................................... 39 Seagram Building, New York ..................................................................................... 41 Optical Correction in Greek Buildings – The Parthenon, Athens ................................... 44 The Gherkin, London ................................................................................................ 46 Guggenheim Museum, New York .............................................................................. 47 Gothic Architecture ................................................................................................... 49

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Brutalist Architecture ................................................................................................. 50 High Tech Post-Modernist Architecture ...................................................................... 51 REFERENCES ..................................................................................................................... 54

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TABLE OF FIGURES

1. EXTERIOR VIEW OF OAKLAND CATHEDRAL ............................................................... 39 2 EXTERIOR VIEW OF CHURCH OF VINCENT ST. FERRER .............................................. 39 3. EXTERIOR VIEW OF SEAGRAM BUILDING .................................................................. 41 4. COLUMN DETAILS ..................................................................................................... 41 5.SEAGRAM BUILDING WITH ITS EXPOSED I BEAM AND GLASS SKIN ........................... 42 6. PARTHENON ELEVATION ........................................................................................... 44 7. DEMONSTRATING THE OPTICAL ILLUSION DUE TO PERSPECTIVE ............................ 44 8. REDUCED INTENSITY ................................................................................................. 44 9. THE GREEK CELEBRATING THEIR TIMES .................................................................... 45 10. THE LINES ARE EQUAL HERE ................................................................................... 45 12. GHERKIN IN ITS CONTEXT........................................................................................ 46 14. DIAMOND GLAZING SYSTEM ................................................................................... 46 13. ROTATED PLANS ARE SPIRAL SKYLIGHTS ............................................................... 46 16. STAIRCASE AT FALLING WATER .............................................................................. 47 15. INTERIORS OF GUGGENHEI MMUSEUM, NEW YORK............................................... 47 17. STAIRCASE AT VILLA SAVOYE .................................................................................. 48 18. EXTERNAL FLYING BUTRESSES ............................................................................... 49 20. BUTRESS BECOMES AN ELEMENT OF AESTHETICS................................................ 49 19. RIBS ON GOTHIC VAULT .......................................................................................... 49 22. HUMPHERY BUILDING, WASHINTON D.C.BY MARCEL BREUER ............................... 50 21. YALE ART + ARCHITECTURE BUILDING, NEW HAVEN............................................... 50 24. HONG KONG & SHANGHAI BANK ............................................................................ 51 25. LLYODS BUILDING, LONDON .................................................................................. 51 23. CENTRE POMPIDOU, PARIS .................................................................................... 51

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DECLARATION

The research work embodied in this dissertation titled “Ideology and Honesty in Architecture� has been carried out by the undersigned as part of the undergraduate Dissertation programme in the Department of Architecture, School of Planning and Architecture, New Delhi, under the supervision of Prof. Ryan Christopher Sequeira. The undersigned hereby declares that this is his original work and has not been plagiarized in part or full form from any source.

(Signature)

Name -

Vikram Bengani

Roll No. -

A/2433/2012

Date -

14-11-2015

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ACKNOWLEDGEMENT

For Mom and Dad

This dissertation has been an important milestone in igniting my desire for reading and researching. I thank my guide Prof. Ryan Christopher Sequeira and my dissertation co-ordinator Prof. Leon A. Morenas for their support and guidance.

I express my sincere gratitude to my parents and my sister for supporting me throughout my life, for time spent and time yet to come. I express deep appreciation for my friend Milind Goel who inspired and motivated me to work harder and for my friend Aayush Tandon for his invaluable support.

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ABSTRACT KEY WORDS: Truth, Honesty, Lie, Contradiction, Architecture, Ideology

Architecture is considered to be the meeting point of art and engineering, a discipline where beauty meets utility. Art and Architecture are closely related in their prime directives. When we relate art to architecture, we consider it to imbibe certain qualities of art. Art, essentially, can make statements to critique its subject. Since the enlightenment era, to provoke the viewer is one of the prime directives of art. Similarly, architecture can make statements, about the world, or the artist’s ideology, or society, or the art itself to provoke the truth in the eyes of the viewer.

This dissertation deals with phenomenological aspects of architecture. It concentrates on the ideology of the architect/style/movement and the honesty in its application. This dissertation attempts to investigate one particular aspect of architecture where architecture lies to reveal the truth. This call for truthfulness has been a very important aspect to produce and assess architecture since the later years of the 19th century, with almost every movement attempting to answer this question of a true style of architecture. The architect here has to be honest to the design he produces, which now has multifold opportunities and multiple aspects to be satisfied. Interestingly, these intentional lies are usually found in places where there exists a contradiction between the artist’s (and the architect) ideology and the built form. It is here that the artist choses to express his desires and use architecture to make statements.

The framework for identifying of case studies as mentioned in the text is based on the principle that contradictions are inherent in architecture and the architect tries to resolve these contradictions with the help of his philosophy and belief. The Greeks used geometrical and mathematical methods for optical correction in their buildings. Their buildings appeared to be straight, when in fact were curved to accommodate perspective of vision. Similarly, this

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dissertation also looks into Mies’ Seagram Building, a specimen from his works, as a selected case study.

Humans have their own needs, and so the different between art (sculpture) and architecture arises here. Sculpture can be provocative and unpleasant to the eye, but architecture, by its prime directives has to accommodate and be approved by the user. It cannot afford to ignore the satisfaction of the user as the most important aspect of architecture – protecting the living from the destructive forces of nature.

Humans lie, art lies, and so can architecture. This dissertation attempts to enquire and appreciate the complex process of lying to reveal the truth through architecture. It subdivides honesty in to various Parameters and attempts to measure chosen case studies according to its understanding.

We start by explaining the meaning of keywords such as honesty, integrity, contradiction, truth and lies in the realm of architecture. For developing a body of knowledge certain authors were immensely helpful. Writings of Venturi emphasize extensively on the contradiction within architecture. Karsten Harries, in his book – The ethical function of architecture – provides and explains the call for truthfulness in architecture and defines honesty as an ethical function in architecture. However, no author deals with these ‘intentional lies’ as an instrument of provocation, instead they dismiss it to be a failure of the architect. This dissertation argues for a closer inspection to the genius of the architect by looking at the intentional violation of his own principles by himself.

The paper ends on a questioning note where the author presents counter views on the existing works and belief and attempts to show its readers that a purely objective view is never possible. It questions assumption made and provides alternate theories to certain principles and beliefs for a closer understanding of the dilemma and the inherent contradiction in ideology and reality.

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INTRODUCTION How does the paper navigate?

This dissertation attempts to explore an aspect of architecture that is phenomenological in nature. It looks at honesty between the ideology of the architect and his built works. It concentrates upon certain instances where the architect refutes his own theories and designs a contradictory piece of work, counter intuitive to his own beliefs. These instances happen rarely and are important to critique since these provide a look into the relationship of humans with art and architecture. Like the Post-Modernist’s sarcasm to modernism, these lies are a complex form of work which reveals the true intention only to the initiated. To the untrained mind, it seems to be a simple contradiction.

Humans evolve and move towards further complexity. This dissertation argues that lie-thatreveals-the-truth is a complex form of expression in architecture as well. It is a provocative lie that, like art, is also a critique to itself.

After the introduction to the topic, a brief outline of the research is presented and we understand the derivative of the research, its needs, and why do architects need to be concerned with honesty in their works. It presents the aims, objectives, scope and limitations of the research along with the research. This is followed by a closer look at research question why does the architect refute his own theory and the research methodology adopted to investigate into the matter. A framework is developed for identifying and selecting case studies. Following this, a framework for conducting analysis is presented which presents parameters to divide and tools to assess honesty in architecture. The research is limited to architecture produced 20th century with the exception of Greek and Gothic buildings that are used to describe that dishonesty existed since the beginning stages of architecture to add historical examples to the research.

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Architecture, like people, uses a complex mechanism to reveal the truth by lying about itself.

This lie is necessary to reveal the truth as it provokes and provides necessary contrast. This paper contributes to establishing the relationship of ideologies of various architectural styles to the perceived honesty/truth. It explains why understanding consciously this mechanism of lying is important for the architect and makes us question if what we see is what it is. It provides us with an intellectual scalpel to reach beyond, understanding meaning, character and awareness of the world we live in is important.

The claim and need for research is corroborated by a literature review of existing writings concerning the topics. It introduces authors and books referred in this dissertation and terms and definition used widely in the research. Having a clear understanding of terminology is important especially for terms like ‘honesty’, ‘truth’ and ‘integrity’ in the context of architecture.

This chapter sets up the context and background of research by placing various understandings and theories of various authors in a short summarized way. Important writings by authors such as Venturi on contradiction in architecture, Karsten Harries on ethical functions of architecture, Nietzsche on truth etc. provide the necessary body to build the research upon. Importantly, most authors term the resolution of contradiction as just a contradiction in itself. The understanding itself calls for an increased level of attention to the detail and the desires of the architect and what he establishes with his buildings.

The case studies and analysis aim to provide a method of distilling intended and provocative dishonesty from an ignorant approach in architecture. The quest for truth has been a long one and since then people have claimed to demonstrate how architecture speaks and communicates. This chapter subdivides honesty to cover its various aspects. It provides the lenses to look with and shows examples of each. This chapter also explores the adverse effects of ‘dishonest’ work and presents arguments as to why we need to be conscious of the working of these phenomena on our emotions.

Every researcher carries with him the possibility of digressing into a tunnel vision, a condition where he may not be able to see clearly the disjunctions in his arguments and the flow of the discourse. . Thus a Red Team is constructed who at the end poke holes in the arguments and present counters and rebuttals. A red team is an independent group that challenges an

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organization to improve its effectiveness. Red teaming is normally associated with assessing vulnerabilities and limitations of systems or structures. Drawing a parallel metaphor, the notion is to fool proof the researcher and the reader and critically re-examine the theories. The Red Team, embracing the dual nature of architecture, presents counter arguments to the theories described in the paper.

Being conscious of the design process is important with the increasing complexity of the designer’s processes produce a complex product. A lie-that-reveals-the-truth is a complex form of communication, just like sarcasm or rhetoric. Understanding these aspects in architecture will definitely elevate the development process and criticism parameters in space making of architects.

RESEARCH QUESTION Why does the architect refute his own theories and beliefs towards architecture and how does he resolve this inherent contradiction - in his works and by his works?

AIMS 1. To investigate the dualities in architecture that concerns the perception of truthfulness.

2. To enquire and appreciate the complex process of lying to reveal the truth through architecture.

OBJECTIVES

1. Understand the philosophy behind the call for truthfulness in architecture 2. To investigate briefly the changes in the perception of ‘honesty’ over the 20th century.

3. To provide both for and against perspectives and present the debate concerning dual natured architecture.

SCOPE

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1. For a qualitative research like this, we rely heavily on the existing literature on the topic.

An extensive literature survey will be necessary which will include unpublished works from the internet, like blogs and articles. The idea is to realize meaningful perspectives on the topic and the validity of the arguments found can be screen through a discussion with the guide and peers. If they are legitimate, they may be supplemented in the literature survey.

2. Dealing with the built reality, where the architect may have dealt with contradictions in hypocritical way, it may seem necessary to show an alternate reality where the architect choses to be completely honest with his works. To prove/explain a point, doctored images of building may be presented to prove how this instrument of balance between spiritualists and rationalist acts. This dissertation relies heavily on images from secondary sources.

3. This dissertation will only look at architecture produced in and after the 20th century

LIMITATIONS 1. Personal bias due to the convened standards of our time may prove to be limiting an objective perspective towards analysis. Since these standards may not be the acceptable ones in the future as ethics and morals are constructed over time with collective experience and conditioned beliefs of the masses. Every subsequent architectural style is born out of a response to the prevailing architectural style.

Postmodernism for Modernism, Deconstructivism for Postmodernism etc., alternately, it is the belief of the society that changes over time giving way for a new philosophy to be held by. As Tschumi (1996) says, the idea of transgression of architecture is prevalent in every subsequent style and ideology.

2. Some theories/examples may seem to be overthought, since the resolution of contradictions and ‘lie’ are not outright said, it may be not possible to say with complete certainty that the mentioned method/design-process is what the architect had adopted, or if the ‘lie’ was intentional. Nonetheless, an analysis may reveal the

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most likely process that the architect adopts and this dissertation will present it to its readers.

3. The topic deals with a qualitative aspect of space and thus the quality holds different interpretation for different individual. However, this dissertation does provide/establish intentions as perceived through the spatial experiences of the authors and through various interviews

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METHODOLOGY Firstly, an in-depth reading of the concept outlined and terms used in this dissertation. Collect data and information 1. Understand the ‘contradictions’ or ‘lies’ in architecture.

2. Understanding the perception of the architect and the sentiments these ‘lies’ evoke.

3. Establish a Qualitative Relationship between truth, ideology of the architectural style and honesty, between the perceptions of being honest and its relationship with time.

Explain the hypothesis ’architecture reveals truth by the hands of its dishonesty and show the need for research.

4. Show examples and sub-divide the topic into various parameters to use as a lens for analysis. State how people have designed buildings with their idea of ‘truth’ in the world. Also define the many fields in which honesty is appreciated and what does honesty mean in reference to the lens.

Ex: Political Honesty - the political dilemma, its meaning, its examples in the past. Architecture is just not the act of building only; it is related to other fields with their own techniques and modus operandi. It resides people (housing) and may have a social cause as well (hospitals). The state being one of the stakeholders in development essentially makes architecture political.

5. Present classification/taxonomy and subdivision of honesty and explain them. a) Politically/Socially Honesty b) Functionally Honesty c) Structurally Honesty d) Temporal Honesty e) Material Honesty f)

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6. Define Research Methodology a) Define Research Methods b) Develop criteria for selection of case study c) Identify tools for evaluating the above mentioned parameters of honesty Example: Material Honesty of the building can be evaluated based on the properties of the material, the texture quality, images of the building and choice of material itself.

7. Identifying case study relevant from the works. a) Contradictions in architecture (nearly associates with the lies) a) It is important to note that these contradictions arise from the dual nature of architecture. b) Lie that reveals the truth a) A complex form of communication that is provocative in nature b) Ex: inciting the black by showing the white background.

These are response to the dualities in architecture.

Carolyn M. Richards argues that with the understanding of something by visual study comes a sense of trust and emotional appeal towards it.

8. Develop a theory to look for a pattern hidden in the examples.

Does it really follow a pattern or does it happen differently each time. What are the technological and political preconditions where these contradictions become more profoundly used by architects to display the character of dissonance in and with his ideology?

9. Counter-arguments and Conclusions Importantly, people are typically involved in trying to attribute meaning to their experience and thus the socially constructed nature of reality

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This is the cause of this phenomenological question. Attempt to make people distill and appreciate this complex process. Explain why due diligence is necessary before criticism into architectural works.

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FRAMEWORK Theoretical framework for evaluation of parameters of honesty: Parameters

Tools used

Remarks

Political/Social



Materials Used

Examples might be

Honesty



Efficiency of design

difficult to prove



User-centric design



Plans/Circulation

Difficult to study since it



Images

is based on the



Sections/3Ds

standard of time and

Functional Honesty

collective knowledge of people.

Structural Honesty

Temporal Honesty

Material Honesty



Structural system



Images (emotions/associations evoked)



Elevations / Sections



Images (through various times of the day



Response to period (style prevalent)



Images

Fairly objective to



Planes/Texture/Finishes

study. There is the



Context (local materials)

material and its

Difficult to study

properties. Has the architect been able to exploit the uniqueness of the material?

Contextual



Context Plan / Site Plan

Requires understanding

Honesty



Images

the site in real time and



Associated History

not only in photographs.

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CRITERIA FOR SELECTION OF CASE STUDY

MOVEMENT/ARCHITECTU

ARCHITECT (AND HIS BELIEF)

RE (ITS IDEOLOGY) CATALOGUE OF HIS FAMOUS WORKS

LOOK FOR CONTRADICTIONS IN THE ARCHITECTS BELIEF and HIS BUILDINGS APPEARANCE

WHAT EMOTIONS DOES THE RESOLUTION OF THE CONTRADICTION EVOKE

HAS THE ARCHITECT SAID OUTRIGHT ABOUT HIS LIE YES NO CHECK IF HE SAID IS WHAT IT SEEMS DOES THIS EVOKE ANY EXPLAIN WHY DOES THE

EMOTIONS THAT COINCIDE

EXPLAIN HOW HAS THE

ARCHITECT VIOLATE HIS

WITH THE BELIEF OF

ARCHITECT VIOLATED

OWN THEORY/BELIEF

ARCHITECT’S PHILOSOPHY

HIS ORDER

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DISCOURSE “Lying is intolerable, we perish by lying” -Le Corbusier

Le Corbusier was fore-runner in the quest to claim truth in Architecture as a moral obligation.

His book “Towards a New Architecture” (1928) was dependent on a claim for truth, which is one of the most influential works of the time period. This claim for truth, honesty is the common basis of all different architectural-movements in the beginning of the 20th the century (Kuhn, 1989) like Rationalism, Art Nouveau, Structuralism, Postmodernism, Modernism, Bauhaus, International Style, Deconstructivism, Brutalism etc. This claim was already made in 19th century by architects such as Pugin, Schinkel, Viollet-le-Duc and Ruskin. The search for the true architecture of the time that began in the industrialization period now has become an important factor in critiquing architecture. Truthfulness and honesty carries with it, and reinforces, a sense of integrity to the built. Integrity in architecture refers to the quality of being honest and having a strong moral principle and ethical standards. Lucienne Herve describes integrity as “the inner sense of ‘wholeness’ deriving from honesty and consistency of character.”

The counter-play between ‘truth’ and ‘lies’ within architecture sparks an emphasis on the functionality of the design. The intent of architecture is not only to build or dwell but also the feeling and experiences that a space arouses. Karsten Harries in his book The Ethical Function of Architecture focuses on ‘true’ architecture being a direct representation of architecture and the meaning within architecture. Therefore, a building should represent the ‘truth’ of its function. Hence, a church and office should depict themselves by sheer visual representation. Architecture responds in a way that helps us gain an understanding of the demands of our time (Harries, 1997). It does not only speak to us of their use, but they also speak to us about the materials that they are made of. The work of Architecture should have a very strong relation to the materials, which it is composed and built of. “Truth in Architecture

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is truth of representation” (Harries, 1997). He argues that a building should not try to represent a style of architecture or anything else but itself.

Perception of the Ethically Right Le Corbusier once said “The curve is ruinous, difficult and dangerous; it is a paralyzing thing…The house, the street, the city should be ordered”. He was limited by the knowledge of his time and the accepted philosophy of the west. The west very evidently had not evolved enough to believe in the merits of the primordial methods of designing in the eastern philosophies. Eventually the woks of Frei Otto and the development of computational analysis promises to provide the ordered complexity (Herve, n.d.) present in organic forms. Theories such as fractals and other complex systems came into the acceptable scientific standards and thus began the adoption of curves as a legitimate element of construction. Ironically, Classical architecture used these curves within rectilinear elements lines to exploit trabeated system of construction and perfect its rectilinear appeal. They used curves in the building as a method of optically correcting the perception of the building to its viewers. Corbusier, who looked at the classical architecture for inspiration in his book Towards a New Architecture surely did not consider this aspect of the classical orders when he said his description and criticism of the curve? In his Post-Modernist phase, he designed the chapel of Notre Dame du Haut in Ron champ, where he used curves extensively.

The Hypothesis The most important function of art is provocation. Pablo Picasso (1923) famously said “Art is a lie that reveals the truth “. The Idea that making people believe in the degree of truthfulness in the lies of the artist will ultimately convince them into understanding the truth itself. The contrast has to be framed in order to be recognized by the conscious mind. Architecture, by its very nature of being designed, carries aesthetic qualities and thus is also a form of art. This

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dissertation would like to show by example and test the hypothesis that architecture also reveals truth by the hands of its dishonesty. On the alternate view, Karsten Harries argues how much of architecture is art? Does architecture meet the demands of the artist’s canvas?

To be talking about a consciously made false statement, it is necessary to assume that architecture is seen as a form of art. Artists, here, use 3D space as their canvas and can make certain statements. It is important to note, that this perception of architecture shall not over-run the primary function of architecture - to serve humans - rather than become a sculpture where humans resides. The very distinction between a sculpture and architecture is in its prime directives. Whenever architecture attempts to makes a statement, it should not compromise in any way the needs of the stakeholders (especially users) of the project.

To overcome prejudices in the unconscious to win the viewer over, authors lie in order to reveal the truth when they write science fiction and fantasy genre.

The Purpose of Architecture “It is a riddle filled with markers that reveal their secret only to the initiated” (Harries, 1997, p. 4).

Karsten Harries argues that true architecture responds the way to help gain understanding of the demands of the time. Architecture needs strong ethical imperatives to be meaningful.

The book attempts to explore in detail the way architectural elements can be categorized within the groups of “truth” and “lie.”, architecture can indeed tell a truth or tell a lie through visual projection. The architect, through architecture, can transfer its unconscious desire and emotions to another person.

According to the post-modernist philosophy - humans lie - and if the postmodernist is the liar himself, so should architecture lie. Nikolaus Pevsner’s observation “A bicycle shed is a building, Lincoln cathedral is a piece of architecture” rightly portrayed the distinction between

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architecture and building is that the former is designed with a view to aesthetic appeal. This ‘more’ is understood and realized in different ways in architecture. Architecture can be subjected to multiple hermeneutics and thus can be interpreted. Lying to reveal the truth is the part of this ‘more’ where architecture, from a rationalist plan to an aesthetical and spiritual appeal. Or else, they are merely a ‘decorated shed’; a concept by Venturi (1977) to distinguish architecture from mere buildings. Herman Broch described this ‘decorated shed’ as “poverty covered up by economic wealth” This breach between beauty and reason was to be healed by Bauhaus as a style.

Need for Research There exist gaps in the realization of the architect’s intents which are arcane in its nature.

Somehow all are scrutinized for the inability to solve one problem or the other. The most important aspect of nature is its own evolution. Over time, the world moves into a higher from of complexity- biological evolution of organic matter, intellectual evolution of sentient beings – it is only fair that humans try to find the best solution and the most appropriate answer to the questions they pose themselves with. Individuals have to create meaning for themselves to define themselves. We are either meaning creating or meaning seeking. Robert Venturi, in his book Complexity and Contradiction in Architecture talks about these dichotomies between the ideology and design solution of the architect to the honest method of designing the function.

Honesty, truth and lies will always be represented and perceived in different ways in Architecture as it is factored on temporal dependency. The ethical standards of the society change with the influential philosophy prevailing at that time and place. So does technology, and eventually, the aesthetic demands of the society [which the architect is a part of].

In the future, as an architect, to have a clear understanding of ethics and integrity of architecture is imperative. As the standard of ethics change from place and time (and thus the belief of truth as described by Nietzsche), tracing these since the times of inception of industrial society would be a valuable learning for this dissertation.

Why is ethics important in architecture, and if so, why is honesty an ethical responsibility?

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TYPES & PARAMETERS OF HONESTY

Various parameters identified to judge this ‘honesty’ are: 1) Temporal Honesty a) How does the space depend on change of season, time of day and weather condition? How has the architect incorporated temporal dependency of the building in his design? b) Does the building respond to the year/period it is constructed in, according to ‘Zeitgeist’? To name one example, Schinkel claims “Architecture should think about what the time claims of Architecture” (Duchs, 2003). One could also name Walter Gropius, Hannes Meyer or Mies Van de Rohe’ works to be made in accordance with the spirit of the time

2) Material Honesty a) Honesty in the usage of material, Does the material exhibit its true properties? b) Bauhaus relied on the true representation of material by showcasing their abilities and virtues to enflame a truly industrial era architectural style.

3) Functional Honesty a) Readability of actual function from the outside. The aesthetic code of the building must be adhered to. The function should be readable from its looks. Thus, a church looks like a church and a barn like a barn. b) Rationalism theory & works by Renzo Piano, Richard Rogers. A case of High Tech Post-Modernist movement’s pure functionalism translated into architecture. Here the building systems were exploited for their aesthetic appearance. Ex: Centre Pompidou in Paris and Hong Kong Bank in Hong Kong by Richard Rogers. c) A body of fish appeals to senses because we are able to read the functional character portrayed by its body’s character. “A form that expresses the function” (Richard, n.d.)

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appeals to our senses. With the understanding of something by a visual study comes a sense of trust and emotional appeal towards design.

4) Contextual Honesty a) Does the building belong to the place and culture of the people/users/client? b) De style movement was a result of the Great War. During the war, the world was taking its leap towards globalization and required a common and neutral medium of communication. c) Every country had had different culture and different language and it was Piet Mondrian’s belief that art could unify mankind and resolve conflict by creating a universal language.

5) Structural Honesty a) Bird’s Nest stadium, China, is a structural system adopted honest to the building function, can a different system be adopted for the same building which may prove more cohesive while looking at the big picture? b) The actual construction should also be visible from the inside as it is inside the building. This principle is regarded as one of the most important and influential claim in the modernist era. c) John Ruskin’s book Seven Lamps of Architecture talks about gothic revival and its honest display of the structure. d) Mies’ Seagram Building demonstrates truth in construction. The observer can visually understand the actual construction directly from the building elements. e) The Gherkin’s spiral skylights area an example of an integral design. They are in complete conjunction with the structural system.

6) Political/Social Honesty a) Architecture always has a political dimension, the article Ban vs Schumacher pointed out this mechanism of how politics effect the promotion of one architectural style. He said “because we cannot instantly demonstrate a manifest tangible benefit to the poor 25

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as if social justice is the architect’s competency.” He went on to say that this was an attempt to “paralyze us and arrest our explorations”. He argued that all the prizes in the Venice biennale 2012 were motivated by this political correctness in architecture.

b) The Berlin wall divided the globe into two, based on ideology and geopolitics. The built form acts as a major symbolic content which gives “concrete expression to the sociocultural and political phenomena” (Ismail, n.d.). Architecture is more than utilitarian in its nature. It is evidence of a social life, and of intellectual and political practices. The Viceroy’s house at Raisana Hill, New Delhi are symbolic of colonial subjugation in its attempt to declare and enact political intentions. The Versailles palace was built to demonstrate the absolute power of the monarch king, the building dominant structure in the landscape.

c) The social responsibility of architect is sometimes towards the communities and sometimes towards the environment itself. It is a push and a pull between the interest of the user, the client and the environment. Stating an example, if a client wants to construct a structure in a rainforest area, then even if one architect denies it on ethical lines, he will find another one with a loose moral code to build it. As long as there is demand, supply always finds a way [given the resources exist]. Thus, the architect can behave as a diplomat, making architecture that conforms to the requirements of the client, keeping in mind of the needs of the users and by skillfully responding to the environment to lessen the harm.

d) Various firms and architects are working towards humanitarianist architecture. Shigeru Ban, ELEMENTARY, Mass Design Group, Rural Studio etc.

e) In the Nazi Germany architecture, All the visual art was “materially, spatially and structurally most representative of the doctorial power of the III Reich” (Rajput, 2009, p.

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17). The Nazi plan was to create cultural and spiritual rebirth in Germany while representing the “intimidating display of power” (Speer on Nazi Germany Berlin Plan)

This ‘honesty’ is relative but comes with its own dualities. Historically, as witnessed by society, each decision to prioritize one over the other factor generates contradiction in the nature of structure produced. This dissertation will attempt to analyze what decision that are taken in the name of honesty and ethics from the 1900’s and present the cause (warrant) for making these decisions. My dissertation may serve as an ‘integrity test’ citing various examples through history and mentioning various parameters to be considered today.

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TERMINOLOGY and DEFINITIONS Truth Different philosophies define truth in different ways. Gautama Buddha defined truth, [the ultimate truth] the absolute truth, as the one thing that remains constant. His belief, which he went on to preach, was the fundamental law of impermanence. Nature is in constant change.

The world is in a transient state. The perception of time for the Eastern philosophies was inconsistent with the western counterparts. The east perceived time from the ages to the life of the human. The westerners perceived time from seconds, minutes, until the age of humans.

Nietzsche did away with the concept of this ‘truth’ by showing them to be arbitrary and in constant play. He destroyed the idea of absolute truth and argued that truth is a manmade product, whereby truth generally requires people to share the same view and opinions to be established as truth. Nietzsche rejected the values of traditional philosophy – namely truth opposed to false hood, the moral goodness opposed to evil – replaces them with preference for strength and good health as opposed to weakness and sickness. He argued all thinking comes from a particular perspective, thus philosophers need not rid themselves of this perspective for objectivity towards the work but look at things from different perspectives.

According to the Correspondence Theory of Truth, truth and falsity of a statement is determined only by how it relates to the words and what the degree of accuracy of its description in that world is. There are judgement-truth and thing-truth.

Truth cannot be imposed, it has to be realized and believed. What better way than lying to reveal the truth!

In architecture, the definition of truth seems to be used leniently. Thus, truth is the belief of the Architect, according to his priorities and his theoretical framework for architectural design.

When the architect lies to reveal the truth, he essentially uses a mechanism of provocation by lying to convey his design philosophy.

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Honesty In ethics, honesty and truth carry different meaning. But in architecture, they usually carry no distinction, since these are moral claims in architecture that can be looked at with different perspectives.

Honesty lies in the belief of the being honest. Being honest is not a sufficient condition to being truthful, but it is a necessary one. This dissertation defines honesty in architecture as the ideology of the architect and the honesty of his design towards his own ideology. If the architect faces a moral dilemma of prioritizing one parameter of honesty over the other, the resolution of internal tension may result is a contradictory or exceptional treatment of the elements of architecture.

Honesty is limited to the reader’s knowledge and belief, just like aesthetics In his book Resolution and Tension, Gleeson (2012) He states “Honesty can obscure the clear diagram of a built work.” A consciously made false statement means to understand architecture as an art form; the artist can make certain statements. True work is then revealed through the process of distillation of contradictions. By the case studies of Parthenon and Seagram Building (see pg41) performed in dissertation, it becomes clear that when excessive rationalities are hidden to reveal the ‘bigger’ truth about the work, a work spiritually honest may be realized.

The functional demands of the buildings are important. One must consider the functionality as extremely important. If we were so objective, non-indulgent and un-complex, we would definitely subscribe to pure rationalism belief. But we believe in art, thus making the work of an architect to create poetry out of the space.

Integrity Integrity in architecture refers to the quality of being honest and having strong moral principle and ethical standards. It is the inner sense of ‘wholeness’ deriving from honesty and consistency of character. The exterior and interior for to be seamlessly interconnected visually and through circulation. So, when construction method reveals and reflect the nature of the 29

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material, the engineering system and architecture are mutually supportive, architecture can be said to hold its integrity. Similarly, resolving architecture to ‘fit’ other parameters of honesty, a piece of architecture moves towards a more wholesome work.

Contradictions Ambiguity and contradictions are found everywhere in architecture of complexity and contradictions. According to Venturi, architecture is “form and substance, abstract and concrete, form and structure, texture and material” (Venturi, 1977, p. 20). These fluctuating relationships impart ambiguity and tension to the medium of architecture. Taking an example of Shodhan House, Ahmedabad – it is a cube, both open and enclosed. Joseph Albers calls this “Discrepancy between physical fact and psychic effect” a contradiction, which is the origin of art.

The architect works through push and pull, his decisions based on his biases and priorities, constantly battling amongst the dualities inherent to the stream of society and architecture.

The dictionary definition of contradiction is “A proposition, statement or phrase that asserts or implies falsity of something”. This push and pull, between spiritual and rational directives, comes internally for our competing desires for honesty and beauty (Gleeson, 2012).

A classical approach to resolve dualities is in resolving the contradiction, creating a sense of wholeness. A Post-modernist approach is opposite in nature. It exploits the unresolved dualities consciously. This irresolution leads to dynamic tension. Venturi in his writings has criticized modern architecture of being ignorant of the complexity “insufficiently or inconsistently”. Modern architecture, in its attempt to break away from tradition and start all over again, “idealized the primitive and the elementary at the expense of the diverse and the sophisticated.” (Venturi, 1977, p. 16) He criticizes Mies’ “Magnificent Paradox” – Less is More and claims Mies can make wonderful buildings only because he chooses to ignore certain aspects of the buildings as per his convenience. If Mies had, instead of ignoring, solved the problem, his architecture would have been much more potent.

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“The doctrine “Less Is More” bemoans complexity and exclusion for expressive purpose and let’s architect to be highly selective in determining the problem” (Venturi, 1977, p. 16)

The example of Seagram building, New York, and its analysis (see pg41) describes an approach of spiritualist in the suit of a rationalist (Gleeson, 2009). Thus these dualities in architecture make it tremendously complicated to perceive the intentional lies, which apparently, can be easily misunderstood as the ego/shortcoming of the architect.

Understanding these Intentional lies and paradoxical situation will give us a new perspective to look at the subject of arts and architecture and to fully appreciate the intellectual capabilities of the mankind. Similarly, cenotaphs were dishonest but demonstrated the ideology of the tomb.

Venturi (1977) describes this lie as “juxtaposed contradiction”. It involves a shock treatement to the viewer where the contradictory elements manifest itself in various ways. Joseph Albers calls this discrepancy between “physical fact and psychic effect” a contradiction - which is the origin of ‘art’.

Ideology Ideology of the Architect or the movement or the style is guiding principle towards architectural design by its believers. The designer choses and believes in a set of parameters that his definition of architecture is supposed to fulfill. He must follow his own definition, as validated by society, to construct a structure. Only when he successfully fulfills his own belief and presents a convincing argument for his ideology, may his architecture carry integrity. His morals, to him, are to be imperatively followed. It is a battle where an unstoppable force meets an immovable object. The architect, designing a building, meets the forces of nature and the environment, he has to either resolve the contradictions or compromise for the greater good.

Compromise or negotiation is important aspect of architecture. The architect should possess the humility that in his theoretical framework for designing, there may be inherent flaws or ignorance.

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When he resolves this conflict and this tension by satisfying nature and his ideology, he may be considered a good architect. When he lies to reveal the truth, he essentially suppresses his order to make a certain statement about his own ideology. It is here, where he may lose the battle, but win the war.

Lies Humans lie for several reasons every day, consciously or intuitively. Lying is an inherent part of our daily life. Nietzsche describes it as a condition of life. Lies are employed to serve a variety of instrumental, interpersonal or psychological functions. People lie to make an impression on fellow humans. Humans use lies as a deception towards inconsistency, to resolve internal contradiction or the fear of negative consequences towards telling the truth. Similarly, architects due to similar reasons.

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LITERATURE Complexity & Contradiction in Architecture - Robert Venturi He explains ambiguities that exist in architecture and various contradictory levels that exist. He states, by the use of example, a new kind of contradiction such as circumstantial contradiction that exists due to the unchangeable circumstances in architectural designing.

Dealing with these problems proves to be complex in a manner which evokes tension in the architects mind. On one side, he attempts to bring order, on the other; the circumstances are not in favor of his egoistical pursuit.

Another type of contradiction that Venturi states, is Juxtaposed Contradiction which involves a shock treatment to the viewer. The architect, here, choses to express and validate his philosophy by juxtaposing and dressing the contradiction to invoke empathy for his ideology Furthermore, he states examples of architecture of modernist phase that blatantly choses to over simplify a programme, extremely complex in its nature, such as works of Phillip Johnson and Mies Van De Rohe. ‘Complexity’ in architecture is a much larger phenomena and the author accuses modern architecture to be oversimplifying the nature of architecture. The Modernist architects chose to solve only the problems that help them advancing their agenda and their philosophy. The other complex elements in architecture that require resolution, they simply ignore or choses to suppress the contradiction.

Venturi is perhaps one of the only authors who touched upon the phenomena of hypocrisy in architecture. He terms these under contradictions and writes that architecture is much more complex in its nature and requires resolution in all requirements of architecture.

Ethical Function of Architecture - Karsten Harries Harries defines the importance of an ethical function in architecture. He uses the concept of ‘Decorated Shed’ from Venturi’s writings and establishes a call for truth in architecture. He writes extensively on functional honesty and why a building should convey its function by its 33

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visual form itself. He speaks on the debate of ‘truth’ in architecture and its historical background.

Contradiction between Form & Function in Architecture - John Shannon Hendrix As the name suggests, Hendrix writes about contradiction in architecture since the classical antiquity periods. He defines the form and function debate and extensively samples built architecture to check against contradictions. For example, he looks at structural calculation to determine the structural requirements and the honesty of the structure. Similarly, he catalogues instances of contradiction inherent in the architecture produced in every movement of history of world under various parameters where ambiguity arises. His perspective is again critical and against contradictory resolution of architecture. Lying to reveal the truth is not perspective he uses into his contradiction. Nonetheless, he does contribute to understanding contradictions between ideology of the architect and the resolution of tension at ground reality of architecture itself.

Lying Truth of Architecture - Andrew Gleeson “Function is of-course the primary element of the building, but function without sensual component is just construction.” (Mendelsohn, as read in (Gleeson, 2009)) Gleeson is perhaps the only author who has considered this dilemma or perhaps we should call it a complex process of lying to reveal the truth. He concentrates on Mies’ and Kahn’s architecture and provides historical perspective into the ethical responsibility of the architect.

His book Resolution & Tension concentrates on the resolution of contradictions. He embraces the dual natured architecture and classifies architect based on their belief, such as spiritualists and rationalists.

“The purely pragmatic is merely shelter; the purely aesthetic is merely sculpture…An ultra-Rationalist shall become an engineer, and an ultra-Spiritualist shall become an

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artist. That leaves the people in the middle a confused, muddled bunch.” (Gleeson, 2012) Constantly battling in the middle, the architect is a hypocrite while the architecture is a paradox. Gleeson provides interesting views on the architect’s methodology of designing. He speaks – uncertain of their purpose and desire, the architect sabotages each part of their creative thoughts with the opposing forces of the other (Gleeson, 2009). Stating an example, Frank Gehry is a spiritualist aesthetically driven to mold pragmatism towards aestheticism while Renzo Piano leans as a rationalist. Piano believes in logic and molds aesthetics towards logical decision. For Frank Gehry, reality distorts the building’s honest spiritualist nature (Gleeson, 2009). An effective architect has the ability to negotiate reality, rationality and spirituality.

“An effective Spiritualist architect has the skills to adapt the pragmatic into their forms without making it look forced: Putting a convenient toilet into a sculpture, and making it look like it was meant to be part of the sculpture.” (Gleeson, 2009) In his blog, Gleeson (2009) goes on to explain that the rationalist betrays his logical solution by applying rules of design and aesthetics into areas that do not require so. He states the example of the ceiling.

“If the largest duct on the ceiling requires certain amount of height that will be the rule for uniform height of the ceiling… The constraints and limitations of the project dictate the forms, but in the Rationalists’ overzealous nature to create an honesty of logic, he subconsciously makes aesthetic decisions that clarify this honesty even though in truth they are misleading.”

Reading more by the author, in his blog ‘The Apollonian and Dionysian’, Gleeson talks about the synthesis of architecture from the real and the spiritual, as he calls, is the “will to create beauty”. The Apollonian and Dionysian is a philosophical and literary concept, or dichotomy, based on certain features of ancient Greek mythology. Many Western philosophical and literary figures have invoked this dichotomy in critical and creative works. This beauty, for the

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spiritual, is the deep unknown knowledge. The spiritual is the human desire to understand deeper meaning that rationalist cannot solve. The rationalist, like Sullivan, is compelled to use logic and reasoning to solve this spiritual desire; little do they know the complexity of the human mind The Dionysian desires to play and break from discipline; freedom of unadulterated expressionism and demands of the corporeal constraints. They are aware of the subjective nature of human mind. While the Apollonian, as Nietzsche writes, the apollonian seeks to eliminate this contradiction. Gleeson writes that architecture is the synthesis between the real and the spiritual. The spiritual is borne with a desire to create something that transcends the laws of practical reality.

Gleeson defends Gehry against his usage of huge quantities of material and inefficient functionality of architecture and says that the functional demands of the building are important.

One must consider it with priority. But an architect must take a step forward and create poetry out of it. The true work is then revealed through the process of distillation. Frank Gehry creates bold and visceral form, aesthetically driven, designed to further mankind’s spirituals understanding.

Plato described form to be a reflection of its counterpart in heaven. The image on earth was from the idea in heaven. The Deconstructivist may say there are no rules or origin to anything; in fact all ideas are arbitrary and free. While Kantian philosophy believes that the logos (center) is within us and not up there, a projection of my own consciousness. The Deconstructivist can be said to revolution against of all of previous architecture style. They believed that humans lie, so should architecture. The style proposes to break down philosophy into binaries and simulate unpredictability and controlled chaos in its architecture. The free play of Deconstructivist is supported by the arguments made by Nietzsche in his book On Truth and Lies in a Nonmoral Sense that Truth is a man-made product. Since it is constructed from the beliefs of people, the deconstructivists attempt to break the existing concepts and standards and make a statement about the subject through bizarre architecture.

“Geometry was to deconstructivist what ornament was to postmodernists” (Jamtsho, 2010)

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Oakland Cathedral vs Church of St. Vincent Ferrer Oakland Cathedral, a Roman Catholic Church in Oakland, California is an considered an example of a contemporary church typology.

Does it feel like a church?

Taking the example of a church built with a traditional typology of church architecture the Church of St. Vincent Ferrer is a newly renovated church with all modern amenities such as HVAC systems and fire

1. EXTERIOR VIEW OF OAKLAND CATHEDRAL

safety. The architect has concealed all the ducting and

www.wikipwdia.org/oakland_cathedral

the steel structure within the stone walls, the low voltage Lighting systems etc. and thus has been able to conserve the and collective and acceptable understanding of a church. Hiding all his structure and services, the building may not be called structurally honest as the construction method is not correctly decipherable. However, on the contrary, the building spoke of the purpose of the building, hence, functionally honest.

The architect, within the contradictory nature of work, choses to prioritize. He suppresses the structural honesty of the built to achieve an aesthetical and functionally honest building. With his architecture, he lies

2 EXTERIOR VIEW OF CHURCH OF VINCENT ST. FERRER

to the viewer about the structure to achieve a delightful

https://www.flickr.com/photos/emilio_guerra/4832445059 /in/photostream/lightbox/

clarity of the function of the building.

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Alternately, Lefaine & Lefebvre dealt with this ambiguity by questioning if visual comfort or ‘visual indulgence’ justifies ‘untruthful’ use of material? What if form is the function of the designed? What if form is the function of the building? Just like a successful graphic design requires aesthetics to reinforce functionality and clarity, similarly, shouldn’t we suppress function for aesthetics wherever required?

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Seagram Building, New York Mies Van de Rohe used steel and glass with its inherent honesty to produce lightness in building. But later Mies buildings are expressed as exposed structure, but are ornament on a fire resisting frame. It seems that Mies and Johnson reject all problems of a wind bracing structure and chose to favor an expression of a rectilinear framed structure.

Just as Sullivan , over half a century earlier, had adjusted appearances to express an idea of structure, so Mies ‘lied in order to tell the truth’ about

3. EXTERIOR VIEW OF SEAGRAM BUILDING

the steel frame. (Curtis, 1982)

www.flickr.com/photos/24364447@N051 0948016604

Louis Kahn famously pointed out that in Seagram Building, the shear supports, which appear in diagonals, are hidden in the core walls of the skyscrapers (Venturi, 1977).

Consciously, admiring the look of the building, Kahn stated “Seagram building is a beautiful lady with a hidden corset”.

None of the diagonal elements could be seen at the periphery. Kahn essentially said that Mies was being dishonest (Gleeson, 2009), but the inconspicuousness in

4. COLUMN DETAILS

the action remains that Mies chose to suppress the

Notice the I section is covered in concrete while the bronze I section are exposed to reflect the structural member inside the concrete. www.jmhdezhdez.com/201105/seagrambuilding-mies-new-york.html

diagonals to enforce clarity to the built and rationality of the construction.

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The brass coated I-beams in the Seagram Buildings are unnecessary and not completely a rationalist approach since it exists only for decorative purpose. Due to stringent fireproofing norms of those times, Mies had to cover the structural I-beams with concrete. Thus he cladded the exterior part of the concrete covered columns with the

5.SEAGRAM BUILDING WITH ITS EXPOSED I BEAM AND GLASS SKIN

brass coated I-beams. This served to suggest an image of

commons.wikimedia.org/wiki/File/Seagram _Building.jpg

the building still under construction (Gleeson, 2009). The purity of the structure is heightened by a decorative

Element! (Gleeson, 2009) Thus, this is a case where Mies is a spiritualist in rationalist clothing, ultimately lying to reveal the truth

Mies’ Seagram building may have bronze I-beams as ornaments instead of serving a structural purpose, but they do tell us about the actual I-beam which is going to hold the structure, the floors, the roof and the walls. In the deeper essence of the directives of honesty in architecture, architecture is not just about the truthful representation under its skin, but how the world is organized. Exposing the concrete coated structural I-beams might have proved to be counterintuitive to the idea of clarity of the construction system. Hence, by ‘cladding’ the bronze coated I Beam over the structural columns, the layman viewer has a clear idea of how the structure stands and supports the system.

Ornament was a crime, but Mies here leveraged the power of a lie to evoke the truth of construction of the building. Here, Mies lied to reveal the truth.

Considering a flip perspective, Venturi argues that Phillip Johnson’s Glass house ignore the complexity and Contradictions inherent in the domestic planning. They are a “forced oversimplification”. The building becomes a diagram of an over simplified programme. Hence, “Less is bore”. What he means to say that in our attempt to characterize a phenomena or object from a given point of view, we tend to oversimplify the given event.

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“Orthodox modern architects have tended to recognize complexity insufficiently and inconsistently. In their attempt to break tradition and start all over again, they idealized the primitive and elementary at the expense of the diverse and the sophisticated.”

(Venturi, 1977, p. 16) In his book Complexity and Contradictions in Architecture, Venturi criticizes Mies’ magnificent paradox – Less is More- and claimed that Mies can make wonderful buildings only because he chooses to ignore certain aspects of the building as per his wish. If Mies had solved more problems, his architecture would have been far more potent.

“The doctrine ‘Less is More’ bemoans complexity and contradiction inherent in the domestic planning. They are forced over simplification. The building becomes a diagram of an oversimplified programme” (Venturi, 1977, p. 16) According to Venturi’s argument, we oversimplify a given event when we characterize it from the standpoint of given intent. Hence, He famously speaks “Less is Bore”

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Optical Correction in Greek Buildings – The Parthenon, Athens The Greeks were obsessed with perfection. They believed perfectionism convened the spiritual and ideal with the material world. Architecture to them served a purpose of not only inhabiting the man and gods themselves but they transmitted the information of the higher order of the world to the brain.

6. PARTHENON ELEVATION red lines elicit the curvature of the stairs. notice the columns are not perfectly axially arranged but are pushing outwards to address the optical illusion caused due to perspective.

Taking example of the optical illusions in Greek buildings,

https://www.youtube.com/watch?v=7AIXvZRsiq4

the Greeks understood perspective and its results.

Converging lines help us assess distance and relative size. Thus the line on the right tells us that it is larger than the line on the left. On clarifying all the details and placing them in black background, we see that such is not the case. This is a result of the optical illusion.

7. DEMONSTRATING THE OPTICAL ILLUSION DUE TO PERSPECTIVE

The Greek Architects exploited these optical illusions to

Notice both lines are equal in absolute length but the left one appears to be shorter than its right side counterpart https://www.youtube.com/watch?v=7AIXvZRsiq4

achieve perfection in their designs. They invented systems of optical refinements. This resulted in the floor to be curved, the columns to be curved. This has been experimented in earlier Greek temples and reach complete optical refinement in the Parthenon.

Not delving into the technical aspects of this example, which is an acceptable and established principle of

8. REDUCED INTENSITY On reducing the intensity of the perspective, the lines appear to be moremequivalent in their size https://www.youtube.com/watch?v=7AIXvZRsiq4

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construction in the classical architecture, we delve into the topic at hand.

The Greeks lied in order to reveal the truth. The columns are curved but to the eye appear straight. The stairs were thicker in the middle to not appear sunk. The columns have a budge in the center to express the thrust and pressure from above. The entablature is leaning inwards following the same diminution to the top. The corner columns are wider and thicker than the inner ones. They were not architectural or structural requirements, but a result of their conviction

10. THE LINES ARE EQUAL HERE https://www.youtube.com/watch?v=7AIXvZRsiq4

towards spiritual and idealist refinement and their inclusion in the most sacred form of art, the temple architecture.

The eye is fooled with a lie that on close inspection reveals the truth. The truth being the desire of the Greeks to achieve perfection in the eye of the viewer.

The truth being their desire to let man believe the temple to be the perfect form existing in nature. The contradiction between the form of the building and its perception by men is corrected by a series of mathematically and geometrically derived processes. If the Greeks were rationalists, they could not have let their spiritual desires overtake their strictness to reality.

9. THE GREEK CELEBRATING THEIR TIMES https://www.youtube.com/watch?v=7AIXvZRsiq4

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The Gherkin, London Structural Honesty The Gherkin tower, London, designed by Foster+ Partners expresses the structural honesty of the form of construction. The building uses a spiral framing system for the structural glazing.

This is in conjunction with the diagrid structural system. The light wells are similarly spiral in its structure, formed due to the rotating each subsequent floor plate by 5 degree.

11. GHERKIN IN ITS CONTEXT Foster+ Partners, London

Instead of the conventional vertical stacking of floor plates, the plan stacking configuration shows a construction system’s influence on the planning of the building. The structural glazing system could easily be the conventional horizontal-vertical panel system, but instead, Foster used a diamond shape system, suiting the structural system. The building demonstrates and explains the construction system very evidently to every layman who cares to look deeper. Hence, organizes the world for us.

12. DIAMOND GLAZING SYSTEM

A similar example is that of the Gherkin Tower, London, by Foster+

Foster+ Partners, London

Partners. The diagrid system is exposed and heightened by the use of spiral skylights and the successively rotated floor plates instead of simple vertical stacking. The Gherkin could have easily adopted a conventional vertical horizontal system of structural glazing. This would have proved to be cheaper and convenient with lesser distinct panels used. But by adopting the spiral glazing system, Foster organized even the common man’s though about the structural system, giving direction in this increasingly

13. ROTATED PLANS ARE SPIRAL SKYLIGHTS Foster+ Partners, London

disorganized world

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Guggenheim Museum, New York Venturi, in his book Complexity and contradiction in Architecture draws an interesting parallel between the three pivots of modern architecture- Mies, Corbusier and Wright.

“When circumstances defy order, order should bend or break: anomalies and uncertainties give validity to architecture…Meaning can be enhanced by breaking order. A building with no imperfect part can have no perfect part because contrasts support meaning. An artful discord gives vitality to architecture…but order must exist before it can be broken.” (Venturi, 1977)

14. STAIRCASE AT FALLING WATER Notice the strict adherence to horizontals vertical elements in wright's building. http://www.planetclaire.tv/fllw/fllwimag/fallingwa/fwestair.jpg

15. INTERIORS OF GUGGENHEI MMUSEUM, NEW YORK Here, wright makes his exception an entire order http://1000thingsnyc.com/wpcontent/uploads/2013/08/Guggenheim-NYC.jpg

When the architect refutes his own beliefs, breaks his self-imposed order, he does that with deep introspection and attention. Even though the architects design is not visually similar to his characteristic designs, they do carry the same belief in this new order. Taking the example of Guggenheim Museum, New York – Wright refutes his entire rectilinear system of designing for a curved one.

If Wright camouflages his contradictions, Mies excludes or suppresses them.

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In Villa Savoye, again the diagonal of ramp is clearly expedient in section and elevation and allows Le Corbusier to create strong opposition to regular contrast. This attitude contrasts greatly with Wright’s, whose consistency of horizontal continuities at the expense of all else is well known. Even the unusually exposed staircase of Fallingwater, Wright suppresses the diagonals of the ramp. There is only the horizontal tread and the vertical lines of the rods from which the stair grows between the walls. Corbusier glorifies the expressed diagonals of the ramp. But for wright’s order allow no inconsistencies.

16. STAIRCASE AT VILLA SAVOYE Notice the playful character of the curves in the rectinllinear designed programme. http://www.urbanicity.info/sitebuild ercontent/sitebuilderpictures/.pon d/stairs2cp.jpg.w300h351.jpg

Wright’s moto – Truth against the world- affords no inconsistencies with his design of the Guggenheim Museum. Guggenheim was a much more complex area programme than his earlier works. Siting into a rectilinear urban New York, the Guggenheim calls for an exception.

Thus, Venturi (1977) speaks – “Corbusier juxtaposes the diagonals and glorifies it, Mies suppresses it and Wright surrenders his entire order to it- The exception becomes the rule.”

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Gothic Architecture The most intriguing feature of gothic architecture that distinguishes it from its predecessors was the use of structure itself as ornamentation, generating awe in the eyes of the viewer.

Invention of the flying buttresses lead to a beautiful integration of structure and architecture - utility and aesthetics. Hendrix (2014) writes that that in later gothic buildings, the number of ribs in later gothic vaults and the number of buttresses to support the super structure were more than the structural requirement of the building. Structural elements were used as ornamentation.

17. EXTERNAL FLYING BUTRESSES http://www.learn.columbia.edu/ma/images/ms _ndp/large/ma_ms_ndparis_butress.jpg

Here, the architect, due to the standards and belief of the style, lied through architecture only to heighten the 19. RIBS ON GOTHIC VAULT

appearance of the structural system. This is

18. BUTRESS BECOMES AN ELEMENT OF AESTHETICS.

a contradictory instance

https//commons.wikimedia.org/wiki/File/NotreDame_de_Paris_035.jpg

where the architect

http://www.iloveparislife.com/assets/templates /iloveparislife/assets/blog/chartres/chartrecathedral-ribbed-buttress-1.jpg

violates his belief of honesty of structure to highlight the structural system itself.

The architect lies to reveal the truth.

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Brutalist Architecture Le Corbusier and other Brutalist architects such as Paul Rudolph used concrete to produce honest building instead of beautiful ones. Brutalist believed in complete honest display of the material. As a movement, it always addressed this question of exposure. The brick is exposed as brick and the concrete as concrete, devoid of plaster or painting.

20. HUMPHERY BUILDING, WASHINTON D.C.BY MARCEL BREUER Hubert H. Humphrey Building, designed by Marcel Breuer, headquarters of the U.S. Department of Health and Human Services, Washington, D. C. https://en.wikipedia.org/wiki/File:DHHS2_by_Matt hew_Bisanz.JPG

21. YALE ART + ARCHITECTURE BUILDING, NEW HAVEN https://upload.wikimedia.org/wikipedia/commons/ 3/3c/Yale_Art_and_Architecture_Building,_October _20,_2008.jpg

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High Tech Post-Modernist Architecture Architecture such as Lloyds of London by Richard Roger and Centre Georges Pompidou, Paris by Richard Rogers and Renzo Piano demonstrate a new kind of honesty where the services of the building are exposed and color coded much like the veins and arteries of the body.

24. CENTRE POMPIDOU, PARIS The services becomes the celebrating element. http://1.bp.blogspot.com/fzRBipYk8sg/UvunLzWQfI/AAAAAAAAW88/Y66nhjnjK_c/s1600/Pompidou +Centre+facade.jpg 22. HONG KONG & SHANGHAI BANK A Building designed inside out. http://www.fosterandpartners.com/med ia/1706186/img0.jpg

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23. LLYODS BUILDING, LONDON https://www.lloyds.com/~/media/im ages/lloyds/about%20lloyds/lloyds% 20building/exterior/lloyds%20buildi ng%20exterior%20hires/20111 108exterior5.jpg

CASE STUDIES & ARGUMENTS

IDEOLOGY and HONESTY

CONCLUSION MATRIX

TEMPORAL HONESTY

MATERIAL HONESTY

FUNCTIONAL HONESTY

CONTEXTUAL HONESTY

STRUCTURAL HONESTY

PARTHENON

YES, build according to the Zeitgiest of the time.

YES, Honest use of material and the structural is exactly how it seems to work.

YES, depicts the function of the building according to the typology

YES, Greeks were very considerate in selection of site and the surrounding. Partheon is the best example.

YES, it displays trabeated system of construction in the most primordial ways.

GOTHIC STYLE

CAN’T SAY

YES

CAN’T SAY

CONTRADICTORY, structure becomes ornament itself.

OAKLAND CATHEDRAL

YES, build with the current trend in mind, an attempt towards new typology for church

YES, shows material honestly with exposed structure YES, uses modern material for their own virtues

NO, Arguably not the acceptable typology of the function.

NO, not evident from the photographs

YES, displays and utilizes the material for its properties.

CHURCH OF ST. VINCENT FERRER

CAN’T SAY

NO

YES, historically establist typology maintained even after renovation and upgradation.

CAN’T SAY

NO, it prioritizes to hide its steel frame structure to depict functional honesty

SEAGRAM BUILDIN

YES, resultant in emergence of a new office typology respecting recent earlier development in its style. NO, does not depict change of time and season.

YES, honest usage of modern materials for their virtuos properties

YES, classical office typology for the modern times.

CAN’T SAY

CONTRADICTORY, cladding on the structural beam of an ornament brass coated beam.

FALLINGWATER

YES, in accordance with the Zeitgeist and carefully loks into the reaction of a building to time of the day and season.

CAN’T SAY

YES, depicts the right & acceptable scale and typology for the function

YES, responsive to the mountainious regions, changes with time and season.

YES

GHERKIN TOWER

NO, does not change accrodingto time of day or seasons. YES, build according the the neweer technology and trends

YES, uses material as themselves

YES, depicts the elegant office typology of modern times

CAN’T SAY

YES, the structure is integrated with the function very thoughfully.

IDEOLOGY and HONESTY

CASE STUDIES & ARGUMENTS

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BRUTALISM

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CAN’T SAY

YES, brutal honesty in display of the character of material, exposed and raw.

CASE STUDIES & ARGUMENTS

CAN’T SAY

CAN’T SAY

YES, depicts the system oc construction with complete clarity

IDEOLOGY and HONESTY

REFERENCES Corbusier, L., 1928. s.l.:s.n.

Corbusier, L., 2014. Towards a New Architecture. 17th ed. s.l.:Martino Fine Books.

Curtis, W. J. R., 1982. Modern Architecture Since 1900. s.l.:Oxford : Phaidon.

Duchs, M., 2003. Academia.edu. [Online] Available at: https://www.academia.edu/1354074/Truth_or_Revolution_srcutinizing_the_interaction_between_morality_a nd_architecture_with_the_eyes_of_a_moral_philosopher [Accessed July 2015].

Frampton, K., 2007. Modern Architecture: A Critical History. 4th ed. London: Thames & Hudson Ltd..

Gleeson, A., 2009. Mies an de Rohe: The Liar. [Online] Available at: http://the-lying-truth-of-arthictecture.blogspot.in/2009/09/mies-van-der-roeh-liar.html [Accessed August 2015].

Gleeson, A., 2009. The Lying Truth: Part I. [Online] Available at: http://the-lying-truth-of-arthictecture.blogspot.in/2009/09/part-i-lying-truth.html [Accessed 09 August 2015].

Gleeson, A., 2012. The Apollonian and Dionysian in Architecture. [Online] Available at: https://thelyingtruthofarchitecture.wordpress.com/2012/06/23/the-apollonian-and-dionysian-inarchitecture-3 [Accessed 09 October 2015].

Gleeson, A., 2012. The Lie that Reveals Truth. [Online] Available at: https://thelyingtruthofarchitecture.wordpress.com/2012/09/24/the-lie-that-reveals-truth/ [Accessed 9 August 2015].

IDEOLOGY and HONESTY

REFERENCES

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Harries, K., 1997. The Ethical Function of Architecture. s.l.:MIT Press.

Hendrix, J. S., 2013. The Contradiction Between Form & Function in Architecture. 1st ed. New York: Routledge.

Herve, L., n.d. Architecture of Truth. s.l.:s.n.

Ismail, A., n.d. Archiecture as Expression of political ideology, s.l.: s.n.

Jamtsho, Y., 2010. Deconstructive Discourse in Architecture. New Delhi: School of Planning & Architecture.

Kuhn, C., 1989. s.l.:s.n.

Picasso, P., 1923. The Arts [Interview] (May 1923).

Rajput, A., 2009. Architecture as an Expression of Political Power. New Delhi: SPA. Tschumi, B., 1996. Architecture & Disjunction. 1st ed. s.l.:The MIT Press.

Venturi, R., 1977. Complexity & Contradiction in Architecture. 2nd ed. New York: The Museum of Modern Art.

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REFERENCES

IDEOLOGY and HONESTY