over here, over there
from time . . to time
Tuesday, May 8, 2012
Enlighten the enlightenment
When curiosity was questioned and truth was discovered, the enlightenment era had begun. History of architecture, as well, had been revealed due to people's discovery dated back since Egyptian empire. Seeking to understand a big whole picture in this field, history needs to be researched in order to create an analytical link among different architectures. Finding reasons for every legitimate source, many ancient buildings were found and created a strong influence to enlightenment period especially the grand tour in England. The idea of enlightenment philosophy was carried out through Europe, and eventually arrived in England. Showing their knowledges and understandings about Europe, English brought many of European architectures back to their home town. Not only just the idea they tried to stimulate, they recreated everything in similar manner from ornamentations, constructions, and forms
Bringing a little bit from each previous architectural periods, enlightenment architectures are hardly defined what periods they are due to their those combinations, therefore, the new terminology is used to describe them as a neo-classicism era. St. Paul's Cathedral in London is one of the examples showing how European architecture had emerged in England. Designed by Sir Christopher Wren, Greek cross plan type was selected with some of Baroque curved quadrants. The front facade of the structure is purely Greek influence, however, behind the portico lies a Roman dome.
Going deeper into finding a real truth about architecture, nature was pointed out which later was known as the purest architecture of all.
In the background of this photo, a structure was built completely by woods showing a post and beam structural element. With that vision, the structure then turned to be the oldest and purest structure forms in architecture. Not only in terms of design where nature believed as the greatest, however, it applied to every aspect of life. Proving this method by Humphrey Repton, he created a 'red book' illustrated pure nature through drawings, paintings, and photographs. Within his book, Repton tried to make it as pure as possible which in this case, no human or any other man-made structures were involved.
Finding the truth through rational and scientific concerns, the period was no longer called the enlightenment but Romanticism. Having the idea to create 'sublime' structure, this philosophy focuses on how elements are being expressed as well as people's reaction towards architectures.
Claude-Nicolas Ledoux, interested in this concept, designed a water tunnel with a sublime idea. The function of the tunnel is to transport water from one point to another, therefore, extreme tunnel was the form of this structure. The tunnel was incredibly hugh emphasizing its function as being a waterway which can carry lots of water each time.
Two periods had already emerged just only because of human's curiosity and discovery; there might be some more to come!
Sunday, March 25, 2012
Richness, Bernini vs. Borromini
Comparing to Borromini, his architectures, again, were emphasizing richness and country’s wealth however, through forms. Instead of being as popular as Bernini, Borromini did not gain much of attention leaving him to design lower budget architectures. However, that was not Borromini's concern, he brought out complex forms and structures instead. Due to his expert in mathematics and engineer, he was able to design complicated structures using not only perfect forms. Triangles, Borromini's favorite element, were widely used throughout his works as well as in Sant' Ivo della Sapienze. Borromini had created a magnificent roof plan for the structure composing many small triangles overlapping each other to form the first star plan. With his use of complex geometries and perspective elements, the church was designed to trick our illusion and viewing the space larger, due to the use of concave surface, as well as higher dome, consequences of star plan and smaller sculptures when moving higher.
Both Bernini and Borromini had successfully achieved their goals in creating expressive and richness architectures but in different approaches. While Bernini used lots of ornaments and decorations to enhance his works, Borromini was, instead, playing with complexity of forms and geometries, creating remarkable and stand-out structures
Sunday, March 18, 2012
The birth of perspective
Koolhaas's junkspace
Light and nature
both-and than either-or
Robert Venturi was one of the major architects who strongly stated that good architecture should consists of rather both-and philosophy than previously either-or concept. With his point of view described in his book, Complexity and Contradiction, Venturi believed some of architectures from modernist fit along with the method such as the falling water or the Robie house of Frank Lloyd Wright.
Heading at the same direction in his architecture, Frank Lloyd Wright tried to merged exterior and interior in both of his works. As stated in the previous blog, the Robie house holds the idea of blending natural elements and machine works together through the use of materials as well as the building's design. When coming to the famous falling water, Wright did play the say old rule, yet very effective. He blurred the sense of being outdoor and indoor together as a whole. Having water running underneath the building as well as literally falling from it, combining with a cantilever physically hanging above the cliff, the building definitely mix the two aspects both physically and emotionally.
Using pure forms combining with ornaments, or simple design combining with complex interior programs, the concept had been used since early ages before Venturi had ever published his book. Dating back to Baroque period where this complexity and contradiction appeared, the style of this era was to create a simple design, yet complex in details through both ornaments and structures. Similarly to Venturi, Borromini, one of the Baroque architects, applied the method along with his works for example in San Carlo alle Quattro Fontane.
The facade of the building well illustrates the philosophy. It consists of both flat and linear, facade with convex and concave walls at the same time. Squares and circles were put together in this element simply to create a real contradiction. Not only the form where Borromini elaborated the idea, ornaments that were put on the facade matter as well. Contradictory to modernism, where every visible element is being exposed showing its function, in this case, the other way around. Borromini designed the facade with double columns on each side; instead of carrying building's load, these columns do not really uphold the structure but creating more complexity.
In architecture, both-and idea has appeared long before in history. However, in modernism, architects viewed it as a completely unacceptable feature; while in post-modernism, the concept rewinds back again. Therefore, both-and or either-or architecture each has its own unique points depending on people's point of view. Shifting back and forth between these twos, the good thing is that architecture would never get boring.
"LESS is MORE"
After Mies gained quite enough recognition and acceptance, he was promoted as a director of the Weissenhof Estate, the first great International Style project. Many modernist architects joined this piece which they all share the same goal in using as minimal structure and ornaments as much as possible. The project was designed in prototype formats that was for economy class of people, however, it turned out differently where the cost of each house was too high for workers to afford.
Prolonging his same concept, Mies was commission to design a Barcelona pavilion and Barcelona chair which they became one of his most famous works. Believing in Utopian idea, what you see is what you get, the pavilion reflects the truth in both form and materials. Mies used simply rectangular form with windows on the facades showing a non-load bearing wall. All materials selected were purely shown as if they were first arrived on site, no hidden on manipulated elements. For example, the granite was selected for the interior of the house, therefore, Mies left the whole granite piece inside without adding any wallpaper or colors on top of it.
Mainly focusing on function than ornamentation, Mies van Der Rohe used only pure forms and functions to create his works as they represent an ornament themselves. Every elements in his building are obviously reflecting its function. Therefore, when he applied glass facade at any point meaning that it is completely non-load bearing wall; or when structural elements are exposed, it actually carries the load of the building not just for decoration.
Keeping in mind with his motto: less is more, not only in architecture where this belief applied, Mies van Der Rohe simply used this method in every aspect of his life from fashion, diction, to architecture.