Monday, September 25, 2017

Book Review: Complexity and Contradiction in Architecture


Complexity and Contradiction in Architecture
by Robert Venturi


Of course complexity and contradiction but also: ambiguity, paradox, incongruity, exclusion, vestigial, both-and, discord, brokenness, irony, distortion, unresoluition, chaos, inconsistency, superadjacency, superimposition, perversion, hyperproximity, contrast, juxtaposition, tension and violence, violence, violence...how Venturi revels in violence.

In 1966 Postmodernism escapes the bounds of continental philosophy and literary criticism making its grand splash in architecture with the publication of this book, the broadly acknowledged gospel of architectural Postmodernism*. Since its publication three generations of architects have been indoctrinated in it. Therefore, if you wish to understand why the architectural and planning professions dysfunction as they do today, then this is a seminal text you are obliged to consider.

A Critique of Orthodox Modernism

That is to say a critique of the International Style as exemplified by Bauhaus icons Walter Gropius and Mies van der Rohe. Perhaps the writing was already on the wall for the International Style. Regardless, Venturi's polemical critique was effective; he was great at smashing things.

The first two chapters are actually quite coherent. Venturi quotes and acknowledges inspiration from the author T.S. Eliot who spoke of drawing tradition from more than just the immediate preceding generation, rather the whole of Western civilisation. Setting the stage honestly, Venturi confesses his personal attraction for complexity and contradiction and highlights the eras of Western civilisation that exemplify this best in architecture: Mannerism, the Baroque and Rococo.

Next he delivers Orthodox Modernism an initial blow: “Architects can no longer afford to be intimidated by the puritanically moral language of orthodox Modern architecture...Orthodox Modern architects have tended to recognize complexity insufficiently or inconsistently. In their attempt to break with tradition and start all over again, they idealized the primitive and elementary at the expense of the diverse and the sophisticated. As participants in a revolutionary movement, they acclaimed the newness of modern functions, ignoring their complications. In their role as reformers, they puritanically advocated the separation and exclusion of elements, rather than the inclusion of various requirements."

Then Venturi follows up with another condemnation that lays the International Style to the mat: "The doctrine 'less is more'  bemoans complexity and justifies exclusion for expressive purposes...here the building becomes a diagram of an oversimplified program for living-an abstract theory of  either-or. Where simplicity  cannot work, simpleness results.  Blatant simplification means bland architecture. Less is a bore." Orthodox Modernism was condemned as simple, bland and boring with a clear implication: Modernism wasn't "modern" anymore. Readers, including a generation of young, frustrated architecture students were hooked. What was Venturi going to lay out next? Where was he taking them? Where was the future of architecture headed?

Complexity and Contradiction in Writing about Architecture

Rauschenberg, Pilgrim 1960
Chapter three, entitled "Ambiguity", is aptly named and self descriptive. Venturi seeks the "discrepancy between physical fact and psychic effect" typified by the Abstract Expressionism of the avant-garde of the art world who had already effectively mastered the principle of unresolved tension, paradox and contradiction, directing their dramatic genius towards chaos. Here and elsewhere there are echoes of the dialectic process as described by Hegel or Kierkegaard where opposites are brought into dualistic conflict, synthesising a new, if relative, truth that in turn finds itself in renewed opposition and so ad infinitum. The anticipated long term effects to the actual psyche of the human beings who find themselves living inside the architectural expression of ambiguity itself is never mentioned.

Next he purports to say something of incredible profundity: "Architecture is form and substance - abstract and concrete." No kidding. When have you ever experienced 'formless stuff' or 'immaterial form'? That matter and form are of a piece, that they always go together, that we're really describing one thing is hardly revolutionary and is certainly not a paradox. The only complex thing about it being the way it's presented in this chapter. In any case, it is the last mention Venturi has of  the material. We're off to the world of contradictory ideas, all form and programme from here on out.

By chapter four the nonsense machine is in top gear: "Contradictory levels of meaning and use in architecture involve the paradoxical contrast implied by the conjunction "yet." They may be more or less ambiguous...this series of conjunctive "yets" describes an architecture of contradiction at varying levels of program and structure. None of these ordered contradictions represents a search for beauty, but neither as paradoxes, are they caprice." WTF is that supposed to mean? Who knows but prepare yourself for six more chapters of dense Postmodern theory-laden jargon whilst fetishising over every anomaly and freak work of Classical architecture as approbation of his ideas. In rare lucid moments, Venturi pulls back slightly, acknowledging that a certain balance (rather than tension) might be warranted between order and chaos but always goes on to reassert and justify his bias for tension, chaos and violence. The book concludes with a chapter of embarrassingly crude and just awful projects by the author, mostly in foamboard.

image 330. Town Hall, Ohio

Classicism's False Friend

A fair number of my professional colleagues would classify themselves as either Classicists or practitioners of Traditional Architecture. Academically, almost all of them received an university education rooted in architectural Postmodernism, with Venturi as required reading. Many have expressed appreciation for the freedom that Venturi's polemic brought about from the hegemony of Orthodox Modernism and the permission it granted to reconsider traditional forms. I would concede there is a measure of truth to that. However, they often assert that architectural Postmodernism is quite a different thing than philosophical Postmodernism, nomenclature is about as much as they share in common; "PoMo" being nothing more than a style getting off to a slow start in the 60's with Venturi, seeing its nadir in the mid to late 80's. Perfectly harmless. That would be a mistake.

To illustrate a few fundamental contrasts between the Enlightment or Classicist philosophical world view with those generally held in Postmodernism:

The Metaphysics of Classicism is one of form imposed upon matter producing something real, tangible that points to the transcendental. Postmodernism denies a knowable reality, eschews the importance if not the very existence of material, privileging abstracted form and concept.

The Epistemology of Classicism considers experience of and reasoning upon an objective reality, one in which complexity is resolved through hierarchy, order, harmony and balance. By contrast, Postmodernism views reality only through relative, subjective frames. Complexity is purposefully left unresolved, tension exacerbated by violent contrast and juxtaposition reflects the world as it really is, a dynamic battleground.

The Ethics of Classicism are humanistic. The individual is not fully determined, has at least limited autonomy and can be held responsible for his actions. The civic realm ought to physically express a forum for rational discourse amongst individual members who constitute the society. Postmodernism denies individual autonomy as illusory. The individual being a socially constructed product determined, subsumed and constituted by his culture. As such there can be no basis for a shared understanding between conflicting and contradicting ideologies outside one's own identity group, no shared values. "Meaning" is absurd in any literal sense, only to be understood as something arbitrary imposed by the will of those wielding power.

Unlike many of my colleagues I do not see Postmodernism as a passé style, as having been a mere surface phenomena. This is a philosophical movement deeply entrenched in the humanities, schools of fine arts and architecture in academia. It is shaping a generation and needs to be understood. The current, 21st century movements in architecture such as Deconstructivism, Blobism, Parametricism etc. all decry material as nothing more than a means to a conceptual statement, all promote visual and experiential tension and unresolved contradiction, all revel in absurdity and refuse to participate in a shared civic order yet are shaping our built environment. Postmodernism is alive and well in architecture and in fact dominates contemporary architectural education and practise. Furthermore, I would assert that Postmodernism is fundamentally incompatible, in fact being the result of two centuries of departure and in most cases opposition to the Enlightenment. It is a grievous error to think of Postmodernism as an appropriate foundation for the recovery of Classicism.


*A note of clarification regarding the terms 'Modern' and 'Postmodern'. In philosophy 'Modern' refers to the body of thought and intellectual culture leading up to and including the Enlightenment. This was resisted by a Counter-Enlightenment that took hold principally in the Germanic countries during the 19th century. Marxism was one of the last intellectual movements of the Counter-Enlightenment. The 'Postmodern' represents the intellectual ideas that came to prominence during the 20th century that incorporated many of the fundamental tenets of the Counter-Enlightenment and Marxism.

In architecture, 'Modernism' stands in opposition to 'Modern', that is to say Enlightenment inspired design as principally expressed in the Classical. Architecturally, both 'Modernism' and 'Postmoderism' materially express Marxist and Postmodern intellectual culture.


Contributed by Patrick Webb

Sunday, September 24, 2017

Book Review: Ornament and Crime

Contributed by Patrick Webb 
 first published on Real Finishes January 6th, 2016 

Ornament and Crime
by Adolf Loos


Ornament and Crime
I should start by saying that Ornament and Crime was first presented as the title of a lecture in 1910 by the Viennese interior designer, architect and most notably critic, Adolph Loos. The lecture subsequently was published as a stand alone essay. Nevertheless, easily recognisable as a consistent theme in Loos' writing, Ornament and Crime by extension refers to a collection of his essays spanning a period of over 30 years.

Loos' writings are clearly polemical, positively hyperbolic in their criticisms, particularly of architecture, the decorative and applied arts. As an early member of the "Vienna Secession", a group of artists and architects who broke away from the established and conservative Vienna Künstlerhaus, his affiliation was not to endure long. Adolf seceded from the secession, pursuing an initially very individual course in search of the "Modern" aesthetic. The impact of his writings can not be understated. At a time of utter confusion in the arts in the face of industrial ascendance, entropy of culture and loss of traditions, Loos was articulating a crystal clear message, what at the time must have seemed to some as a potential way out if not a way forward.

Despite the fact that I disagree entirely with many of his conclusions, I find myself obligated to concur with many of his observations. Adolf Loos was not a ninny. If one cares to understand how and why the state of art and architecture are as they are today, being so distinctly different from what came before, why traditional craft lies in such a impoverished condition, then I might suggest reading his essays as a point of departure.

Advocacy for the Handwerker,
Criticism for the Architect

It comes as a surprise to many that Adolf Loos apprenticed in the family business as a stone mason and carver. Although he began studies both in engineering and architecture he never completed them, opting instead to travel abroad to America where he supported himself, among other things as a brick mason for which he received a certificate. His support for the independence of the handicraftsman, particularly from the academies of art and architecture, is a central theme in his writings, a position that never wavered.

Medieval Griechengasse Straße, Vienna
Adolph notes that a century earlier to his time Vienna and Austria had a style, both organic and traditional. One bought shoes from the cobbler, trousers from the tailor, rooms from the cabinet maker. No one was telling the varied craftsmen what to do, yet everything was well made and matched just fine. Nevertheless, over the course of the 19th century "profound minds immersed themselves in another age and found happiness as an ancient Greek, a medieval symbolist, or a renaissance man." The craftsman was pressed into service, forced to abandon his long cultivated traditions to adopt all at once the pinnacles of artistic achievements of Classical Greece and Rome, Romanesque and Gothic, Moorish and the Baroque, in fact "everything that had been made throughout history in all nations and produce new inventions as well." The traditional craftsman lacked the scholarly proficiency of an aesthetic polyglot, the academic archeologist who exposed him as naive, provincial and stupid.

So everything of value save his back was wrested from the materialistic craftsman now placed under the alien authority of the man of ideas, forms, books and drawing, the architect who"has learned draftsmanship, and since that is all he has learnt, he is good at it. The craftsman is not...The architect has reduced the noble art of building to a graphic art. The one who receives the most commissions is not the one who can build best but the one whose work looks best on paper. There is a world of difference between the two."

Majolica House, Vienna
Interestingly, he took specific aim at Otto Wagner, the most accomplished architect of Vienna, who fit this description to a tee. He accused Wagner of designing every minute detail of his projects, leaving no contribution for the craftsman., even whilst confessing that due to Wagner's virtuoso ability he manages to pull it off. Genius acknowledged, Loos made his stand against architecture that draws attention to itself as a testament of singular, artistic ability. Loos was less impressed by the aesthetic accomplishment of Wagner's work as much as he was disconcerted by the trend he represented: the approach to architecture as a fine art, especially considering Otto Wagner's position as Professor of Architecture at the Academy of Fine Arts in Vienna.

Loos called for an end to the academic abomination, for revolution:

“It is high time our craftworkers tried to throw off this uncalled for tutelage and started to rely on their own good sense.  Anyone who wants to  collaborate is welcome. All credit to anyone who is willing to don an apron and take his place at the humming potter's wheel, or strip to the waist and  help at the furnace. But those dilettantes who want to dictate their designs to the creative artist from the comfort of their studios should stick to their own  field, namely graphic art...if you want craftsmen in touch with the style of the times, poison the architects.”

Hmm...I've yet to try that last suggestion.

The Pogrom against Ornament

The multi-pronged attacks on ornament lack the coherence of some of his other arguments but were the ones to be most revered by the coming Modernist movement. He repeatedly makes a point that is largely verifiable: there was far more ornament applied to everyday items and architecture in the 19th century than at any previous point in Viennese and European culture more generally. 1800's Europe was dripping ears to arse in ornament, much of it shoddily conceived, near all of it culturally foreign.

Some of the appetite for ornament he attributes to the presentation of archeological discoveries as well as artefacts of the aristocracy to the public, particularly under interpretive curation at museums. Out of the tremendous cache collected, what was selected for display was typically the most enriched, bejeweled of items. Loos attributes their survival to being preserved as art objects, ceremonial showcases of ostentation and power. Utilising them as models for practical use therefore would be to miss the original intention completely. Unless of course the intention was to emulate the aristocracy or nobility of former times, an envious pathology that seemed to have infected the upwardly mobile bourgeoisie. He thus describes a life lived amongst hallowed relics:

"The lives we lead are at variance with the objects with which we surround ourselves. We forget we need a living room as well as a throne room, and we are quite happy to let ourselves be physically abused by these pieces of furniture in antique styles. We bash our knees, and etch complete ornaments into our backs...our bowls, jugs, and vases has given us in turn renaissance, baroque, and rococo calluses on our hands."

Le Sacre de Napoléon, Jacques-Louis David 1808

Basically, the argument was that the bourgeoisie was not attracted to ornamentation because of their  cultivated taste nor because it gave them any pleasure whatsoever, rather it was that they thought by having it others would think they had taste. Being a purely instrumental, shallow desire there was no qualms about selecting a cheap fake which only served to degrade craft further. By contrast Loos advocates for domestic architecture that the rooms of a house should have the mark of the owner and be comfortable for the family, also cultivating and reflecting their true tastes for good or ill. The one concession he makes to the aforementioned approach is perhaps for the parlour or a similar room for receiving guests where a specific outward presentation might be desired upon which he cautions, "rest assured that everyone will find the designer he deserves."

Courtesy of The Original Morris and Co.
Having fully imbibed the Hegelian nectar of the inexorable progress of civilisation, Loos strikes out into far more questionable territory claiming that "the less advanced a nation, the more extravagant its ornament." He offers no justification for his argument instead providing the highly ornamented Paupans and the highly ornamenting Red Indians as examples of the primitive and culturally poor contrasted with the pragmatic, restrained, eminently civilised English, the culturally rich who are lavishly praised as guardians of the true Germanic spirit. Although quite natural for the primitive Paupan or Indian to tattoo themselves or adorn their canoes he argues that, "a person of our times who gives way to the urge to daub the walls with erotic symbols is a criminal or degenerate." He urges the Viennese to thus overcome the "Red Indian" within themselves and emulate the English. Racism aside, I have to question whether or not Adolf was simply completely unaware of what William Morris and the Arts and Crafts movement was really up to in England?

This line of argument equating appreciation of ornament with ignorance and dirtiness, unfit for the clean modern man has stuck. It has been very damaging to architecture, culture and inadvertently yet undeniably damaging to traditional  handcraft. Although there is some recovery, the aesthetic cleansing sprung from his polemic has yet a long way from being fully extricated. Not to end on a sour note I have to say there is much more to recommend of Adolf Loos' essays than that last bit of nonsense above such as his genuine concern for the physical and psychological working conditions of craftsmen and advocacy for the respect as well as equal treatment and rights for women. Finally, his additional essay simply entitled "Architektur" is one of the best expositions I've read on how architecture ought to relate to the landscape (natural and urban) and how architecture is not an art. In the spirit of keeping your friends close and your enemies even closer, I recommend Adolf Loos' collected essays Ornament and Crime as an important reading for the contemporary craftsman.


Contributed by Patrick Webb

Sunday, March 12, 2017

The Subjunctive Nature of Beauty


Venus and Adonis
Luca Cambiaso - circa 1569
Contributed by Patrick Webb
of Real Finishes

"Were beauty under twenty locks kept fast, yet love breaks through and picks them all at last" - Venus and Adonis; William Shakespeare

I learned a good bit of Spanish and French growing up and went on to study Italian and Portuguese as an adult. There are many things to appreciate about the Latin languages but one I've always been particularly fascinated with is the extensive use of the subjunctive as a tense, mood or more amply described as a means of expression. It survives in diminished part in contemporary English; however, I would contend that the best examples be found in the Middle English of the Canterbury Tales or the Early Modern English of Shakespeare, the King James Bible and similar works.

The subjunctive frame of view exists outside of time, quite literally the subjunctive aims at underlying meaning. As such it lends itself to verbal expression of opinion, suggestion, desire and the transcendental. For good reason then it survives in English poetry where the conventions of language themselves are transcended, the use of words to push beyond the limitation of the "indicative" that is the proclamation of mere objective facts. As such it can be incredibly useful to express psychological states, conditions and behaviours such as pain, ecstasy and the oft subject of subjunctive expression: beauty.

English, Science and Beauty

English has evolved over the past 300 years into the unquestioned language of science. There are numerous factors attributed to this shift, much of them surrounding political and technological developments. Of interest, there is a correlation between the ascendancy of English as the lingua franca of science and the diminishment of the subjunctive in writing and particularly speech. Of course, this correlation does not necessarily entail causation. Nevertheless, my sense is that they may very well be related phenomena. Every aspect of the modern world has become more scientific, more rational and empirically rigourous which drastically has transformed the way we think and express ourselves. This is especially evident in the English speaking world. We tend towards the indicative, we live our lives, organise our societies according to objective facts. For the 21st century, that well describes the methodology of a now worldwide scientific community.

Science is largely an empirical endeavour, at least in its daily routine. That is to say the practise of science is about measuring the world. What matters? There is a bias in empirical study quite literally towards matter, the material. Matter itself (along with radiation and force) is quantifiably measurable. Science essentially makes the claim that what it can measure is the best representation of reality. Although the claim is symbolic, often it is conflated with reality itself, science as soothsayer. Interestingly, the etymological root of the ostensibly distinct English words "magic, matter and measure" is Indo-European, specifically the  Sanskrit "Māyā" (माया) which binds all of these meanings together such that the supposed subject and object of measurement is intrinsically wrapped up with the concept of illusion.

This pursuit of a scientific classification of beauty has been attempted for the past couple of centuries and continues today where an initial question inevitably arises, "Is beauty real"? The scientific method automatically attempts to determine reality-potential by asking, "Is beauty measurable?"  It's been a frustration too as will always be the case when applying scientific methods to anything immaterial. The first challenge science faces is one of categorisation and objectification, "What is beauty?" The next, "Does this defined object we're calling beauty exist and what do we mean by exist?" Scientific study of beauty has been abandoned repeatedly under the justification that if it can't be defined and measured beauty can not be "real" and therefore not an appropriate subject of scientific inquiry. Other scientists have sought a work around by proposing various limiting definitions of beauty, extractions which are perhaps verifiable through statistical analysis though none have seemed to capture what beauty is exactly. Within the field of psychology it has been proposed that beauty might be relative, each individual has or develops his own conceptual framework; whereas some sociologists have posited that beauty may be a mass phenomenon, something that can be witnessed in differentiation of tastes across cultures and through time. I find it fascinating that when I'm reading Shakespeare or contemplating a Renaissance painting e.g. I experience beauty completely but when I try to express the experience verbally, attempt to quantify it or subject it to logical analysis my results are desiccated; I'm incapable of expressing my experience in scientific terms or even get very far linguistically. Yet, I continue to act in the world "as if" beauty were very much real.

Beauty and Pain

Is pain real? From a scientific perspective that's a difficult question. It has many of the same challenges to scientific analysis previously raised in regard to beauty. But we sure as hell act as if it is real. In fact, it may be the defining trait of human existence, certainly a primary motivating force. No, I don't think we're ready to deny pain just because we can't clearly define or objectify it. Pain as a word can encompass entire ranges of experience. There are certainly psychological pains (loss, sadness, etc.),  conceptions of abstracted thought. Likewise we can perceive pain through our senses: visual, auditory but noteworthy amongst them being tactile pains, those associated with our sense of touch.

The Ecstasy of Saint Teresa
Gian Lorenzo Bernini - circa 1652
Even restricted to touch, pain as an experience defies easy classification. There is the pain of pressure from a squeeze or impact. The pain of burning from searing heat. The sharp pain of a razor's incision. And even the incredible sensitivity immediately following the climax of orgasm. We're unclear if the latter is pleasure or pain; yet we moan, pull away and even scream as if we were in agony. Although we might tend to think of pleasure as the opposite of pain, I think this may be not quite right. Pain's opposite might not be pleasure but beauty and strictly speaking not its opposite, rather pain's counterpart. Together they are the ontological fundamentals, foundational aspects of what it is to be human. Not referential to anything else they are like the bedrock of the soul, manifestations of a subjunctive will that lies beneath conscious thought. Although they can be temporarily masked from consciousness with great effort by abstraction and self delusion both pain and beauty remain ever present.

Why dull the pain or deny the beauty when you can feel potent and alive as you imbibe it all in? The traditional arts of painting, sculpture, music, craft, theatre etcetera are proven, effective means for revealing beauty and pain as the human expression of the subjunctive, underlying, ineffable experience of the foundational realities that transcend conscious thought.


Contributed by Patrick Webb

Tuesday, March 7, 2017

One Photo Says it all About the Current State of Public Art and Architecture


Contributed by Michael Rouchell


In the background, barely visible among the urban clutter, is a bronze statue of a soldier on a granite pedestal. It commemorates the American soldiers that fought in the Spanish American  War. It represents what once was considered "public art".

Right next to it is a street car stop shelter that is too close to the statue, and obscures it  completely if you are approaching from the other direction. The shelter is completely over  designed; it appears to be a simple structure trying to be more complicated than it has to be. As  if it couldn't be any more complicated, there are solar panels added to the roof, perhaps to  please the green energy promoters.

In the foreground is a recently installed "piece" called "Endless Picnic" by Bob Tannen. It  consists of wooden picnic tables stacked on top of each other and is supposed to represent our  culture of festivals and cuisine, while giving nod to Constantin Brancusi's "Endless Column" part of an abstract Romanian World War I Memorial in Romania that no one around here would  be familiar with. There's a sign that explains the "art" for those that aren't part of the art  cognoscenti.

It saddens me that our public officials were duped into thinking that this is a work of "art". What  talent it takes to neatly stack wooden picnic tables! Perhaps an out-of- control SUV will one day take out the "Endless Picnic" but in the mean time we will have to wait for it to slowly  deteriorate. What's even sadder is that several genuine works of public art -- the kind that  requires the talent of a sculptor to make -- are threatened with permanent removal because of  political correctness, while more of these kitsch pieces are added to our public spaces.


Contributed by Michael Rouchell

Sunday, December 11, 2016

Traditional Classical or Not: Accept or Reject?

Robert E. Lee Taylor, Lambeth Field (former football field), 1911-13

Contributed by Carroll William Westfall 
Professor Emeritus 
School of Architecture 
University of Notre Dame

What standard must be met to be considered part of the classical tradition? A canon holds clearly accepted examples that act as models for current practice. There are also many variations, some are more successful than others, but should they also be considered models? 

I offer here a contribution is to stimulate discussions in further contributions, visual or verbal or both.

The question is usually guided by a style identified as classical and exemplified by canonic examples. Beyond style there is another meaning for the term traditional classicism. It links traditional with classical and passes judgment about quality relative to some standard that belongs to architecture as the highest achievement of the art of building, a judgment that pertains as much to the Gothic style as to the Classical style. It might even be stretched to reach a modern style if has managed to make a distinction between the art of building and architecture, a topic that falls within the range of what I am proposing here. 

Rendering a judgment about whether or not a particular example ought to serve as a model for traditional classicism needs more than words, but because images to do not speak for themselves words are also needed. To that end let me offer some images and these words as the framework for my comments: 

A traditional building is one that draws on the accumulated experience with the art of building that is familiar to the architect and to those who see and use the building, an experience that has been constantly revised by innovations to address then-current circumstances, past and present, with architecture used to designate the achievement of excellence in using that tradition.
I leave the standards of excellence to the discussion of the examples. 

Here I offer two examples of the columnar orders, the most conspicuous element in traditional classicism, and I focus on the top where we find the most easily identifiable elements in each of the five classical orders.

In the art of building the orders developed vernacular practices that identify the tectonics involved in transferring horizontal loads to vertical supports and the many other tasks involved in building something that is stable, useful, and delightful to behold. The art of architecture has celebrated and clarified those tasks to provide convincing expressions of stability and to the building’s task with ornament concentrated at the joining of materials to provide a convincing representation of the task being performed. This role draws on many techniques, among them proportioning and using the fall of light to reveal profiles where materials meet one another and the surrounding air. 

It also draws on traditional associations carried by each of the five orders. While there is no one specific association for each, they do fall into commonly suggestive ranges--for example, Doric equals strength. 

Here are two distinctive treatments of the tops of a Doric order for consideration.

Capital, staircase return, Castle Garden
Prague Castle, Joze Plecnik 1920-34
ACCEPT: Here we have an ingenious interpretation of the various structural roles of the canonic Doric order within the tradition that interpreted it as the imitation of vernacular wooden construction. All the expected parts are present: column shaft, echinus, abacus, and the three parts of the entablature: architrave, frieze, and cornice. The entire assemblage’s treatment is appropriate in the stair landing in a passage that makes the transition between two genre, the formal palace court above and palace garden down below. The materials doing the most rugged work are set apart and given an appropriately rough surface. Mutules carry the two stones steps while the beam projects into the open. Its let-in reveal, although rare in the canon, celebrates its structure role. The limitation of profiles to the ring within the let-in necking acknowledges that because it is within the staircase the sunlight will never penetrate, a further sensitivity to the most important aspects of the classical tradition that here are given exquisite and original interpretations. 
Castle Garden
Prague Castle, Joze Plecnik 1920-34
REJECT: Here the limit beyond which the forms of familiar elements must not go has been exceeded. While it is a clever interpretation of the classical, its models mere willful originality. Its acceptance within traditional classicism would encourage others to take similar liberties and undermine the canon’s role as guide to traditional classicism.  








ACCEPT: Here the baseless Doric is rendered in modern materials and stripped down to its bare essentials: it is up-to-date classicism. A slight reveal where the column shaft meet the capital is enough to show they are separate pieces. The missing abacus finds compensation in the echinus’ curling up to meet the beam where a simple band on top makes an adequate representation for the cornice that is consistent with the other abbreviations. 

VMDO with HOK, John Paul Arena, University of Virginia, Charlottesville, 2004-06   

REJECT: There is no understanding of what architecture demands from the art of building. It probably responds to the client’s demand for a continuation of the Doric, the Order of masculine exertions, in a colonnade for an athletic facility at a university with Jefferson’s famous colonnades. It lacks the required expression, celebration, and elaboration of tectonics and attention to proportion and the role of light and is more about the architect than about the tradition of the classical. We can only guess what it shows about the architect? Did the architect think that the client would think it is classical but his modernist colleagues will see it isn’t, and is that why he placed exposed aggregate exactly where the beautiful trace of the echinus’ shadow would fall? Is this what an architect trained in modernism thinks satisfies the canon? Or is this an ingenious way to use modern technology and materials to “do the classical”? Or is it cynicism, or ignorance, or simply a lack of talent? Modernist often complain that the classical is now verboten because it is fascist, but did the architect know that Italian fascist buildings usually lack an abacus? Or is this quite simple something more random than studied? 

VMDO, Colonnade at Scott Stadium, 1998


Contributed by Carroll William Westfall 
Professor Emeritus 
School of Architecture 
University of Notre Dame


Thursday, November 17, 2016

Counter Proposal: Hampton Inn Elysian Fields Ave, New Orleans

Contributed by Michael Rouchell 
founding member of the Louisiana Chapter of the Institute of Classical Architecture and Art

Proposed Elevation Rendering
Image courtesy of Alecha Architecture
INTRODUCTION

The historic Faubourg Marigny neighborhood is located immediately down river from New Orleans’ Vieux Carre historic district.  A few weeks ago, a hotel project was announced for a prominent site on Elysian Fields Avenue, a scenic, tree-lined boulevard that extends from the Mississippi River to Lake Pontchartrain in New Orleans.  The renderings depicted a standard, suburban-styled Hampton Inn.  The design of the exterior is typical of a recent design trend where the facades are broken down into various mini-facades, each given a different architectural treatment, color, material, and cornice height, and each is offset from the other to create an irregular street wall.  The problem with this design approach is that each mini-façade is incomplete, lacking an entrance, or compositional focal point.  The overall building scheme appears to be more of a collage rather than a coherent, architectural composition.

Proposed ElevationsImage courtesy of Alecha Architecture

In response to neighbors’ desire to have a more traditional design, Architect, Francisco Alecha said there's a "tension between making it look like the neighborhood and making it distinctly clear that it's new."

"The building should not pretend to be old," he said. "It would be deceiving."

The building will be reviewed by the New Orleans Historic Districts and Landmarks Commission (HDLC), and more than likely the current design will be discarded or revised in favor of something more modernist.  The HDLC is not one to force an architect to design a traditional design that “pretends to look old” and would more likely persuade the architect to design a modernist design that fits the neighborhood.  The problem is that a modernist design at such a large scale would never fit in with the neighborhood.

Proposed Elevation Rendering
Image courtesy of Alecha Architecture

THE SITE 

The site is located on Elysian Fields Avenue, and is bounded by Decatur Street, Marigny Street and Chartres Street, and is one block from the Mississippi River. Elysian Fields Avenue runs north and south, from Lake Pontchartrain to the Mississippi River at Esplanade Avenue. Esplanade Avenue forms the downriver boundary of the Vieux Carre’.  The site is industrialized because of its proximity to the river.  The block that is across Decatur Street, and nearest to the river, has a large electrical transformer sub-station.  This block of Decatur Street is very industrial in character, whereas Elysian Fields Avenue calls out for something more formal in character.  Towards the rear of the site are smaller residential, wood-framed houses. 

Without the use of a survey or plot plan showing the exact dimensions of the site, I had to use Google Earth’s measuring device to scale the site.  It appears that the site is approximately 115 feet fronting on Elysian Fields Avenue and 310 feet on Decatur Street.  The other site dimensions are unknown, and for the purposes of this exercise are unimportant.

THE COUNTER PROPOSAL 

The building is configured into an elongated “L” with the short leg of the “L” fronting on Elysian Fields Avenue, and the long leg of the “L” facing Decatur Street.  The width of the building is 65 feet wide to accommodate parking on part of the lower level, and the column bays are 30 feet wide.  A 30 foot wide column bay supports two 15 foot wide rooms above, and creates 3 parking spaces.  The rooms facing Elysian Fields Avenue are approximately 16 feet wide, which allows for a 7 bay façade on Elysian Fields Avenue.  The 7 bay façade is easy to divide into a tripartite composition by allowing the center 3 bays to project forward slightly.

Counter Proposed 1st Floor Plan
Image courtesy of Michael Rouchell
Counter Proposed Typical Floor Plan
Image courtesy of Michael Rouchell

All of the facades are stucco finished, with the façade facing Elysian Fields Avenue given more detailing and the side facing Decatur Street being treated more utilitarian. The Elysian Fields façade has a water table, a cornice at the second floor line, quoins at the corners, and is topped by a simple cornice. The well appointed façade treatment wraps the Decatur Street side for the first full bay.  From there back the façade is reduced to simple, flat bands that echo the cornice and water table lines on the front.

The entrance is defined by 5 arches between Tuscan columns and pilasters located at the center of the Elysian Fields façade.

Counter Proposed Elevations
Image courtesy of Michael Rouchell

The design shows a more hierarchical approach to design, where the façade facing Elysian Fields Avenue is more dressed up, with the entrance area having the most traditional details, and the sides and rear are more utilitarian.  This is a more common way of designing buildings that have limited budgets and allows more money to be spent on the front and the entrance, where it is able to make the most impact.

CONCLUSION

This counter proposal is intended to demonstrate how easy it is to incorporate traditional design into a project to make it fit within a traditional neighborhood.  Often, such design solutions are immediately dismissed as being too expensive to execute, or requiring building skills that are unavailable today.  To the contrary, a traditional design can often be the simplest solution, and with a hierarchical approach to design, a modest construction budget can be had.

The façades shown are a first pass at the design, meaning that there have been no revisions or refinements.  If further developed, this proposal could be developed into a really fine looking hotel building that fits within its historic neighborhood.    


Contributed by Michael Rouchell 
founding member of the Louisiana Chapter of the Institute of Classical Architecture and Art