05 architectural analysis_post_modernism and beyond
TRANSCRIPT
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Junk SpaceDeconstructivism and Beyond
Alberto Iacovoni, Marialuisa Palumbo | Cornell in Rome Fall 2016
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1. Postmodernism vs Deconstructivism
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Portoghesi, La Strada Novissima, The Presence of the Past Venicel Biennale, 1980
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Deconstructivist Architecture, Exhibition curated by Philip Johnson and Mark Wigley, MoMA, 1988
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Iakov Chernikov
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Ivan Leonidov
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Alexandr Rodchenko Vladimir Tatlin
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International Symposium on Deconstruction, Tate Gallery, 1988
Deconstruction in Architecture, Architectural Design Profile n.3, 1988
Deconstruction II, Architectural Design Profile n.4, 1988
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<<I believe the projects in the Deconstructivist Architecture exhibition at MOMA mark a different sensibility, one in which the dream of pure form has been disturbed. Form is no longer simply pure, it has become contaminated...
The roof-top re-modelling by Coop Himmelblau is a form distorted by some alien organism, a roving, disruptive animal breaking through the corner. Some twisted counter-relief infects the octagonal box... the roof splits, shears and buckles.
Deconstructivist Architecture seeks the unfamiliar within the familiar, it displaces the context rather than acquiesces to it. The projects in the exhibition do not ignore the context, they are not unti-contextural. Rather, each makes a very specific intervention in which elements of the context become defamiliarised.>>
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Coop Himmelblau, Attic conversion, Vienna, 1984-1988
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<< This is not a new style. The projects don't even share an aesthetic. What they share is the fact that each produces an unsettling object by exploiting the hidden potential of Modernism.
They all produce a devious architecture, a slippery architecture that slides uncontrollably from the familiar into the unfamiliar, promoting an uncanny sense of the alien hidden within the familia, an architecture, finally, which form distorts itself.>>
Mark Wigley, Deconstruction. Omnibus Volume, 1989
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Frank Gehry, Santa Monica House, 1978
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Edgemar Museum, Santa Monica, 1984-88
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Chiat/Day/Mojo Office, Venice,1975 e 86-91
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Fish Sculpture at La Vila Olímpica del Poblenou in Barcelona 1989-92
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Guggenheim Museum, Bilbao, 1991-97
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In 1969, at Moma in New York, Kenneth Frampton presented the work of five young architects: Peter Eisenman (1932), John Hejduk (1929), Michael Graves (1934), Charles Gwathmey (1938), Richard Meier (1934).
A few years later, in 1972, Manfredo Tafuri published the volume Five Architects.
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Casa del Fascio. Diagramma assonometrico che mostra un centro implicito quale risultato dell'intersezione di quattro piani.
Diagramma assonometrico che mostra un centro implicito quale risultato della relazione tra vuoto e pieno.
Diagramma assonometrico che mostra l'articolazione di quattro angoli in un vuoto cubico tale da avere angoli dominanti e un centro recessivo.
Diagramma assonometrico che mostra angoli pieni dominanti e un vuoto centrale.
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House I, 1967-68
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House II
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House III
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House VI
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House X, 1978
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Fin D’Ou T Hous S, 1983
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Checkpoint Charlie, IBA, Berlin, 1982-85
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Carnegie Mellon Research Center, Pittsburg, 1987-88
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Guardiola House, Cadice, 1988
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School of Architecture, University of Cincinnati, 1988-91
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Convention Center, Columbus, Ohio, 1989-93
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Koizumi Sangyo Office, Tokyo, 1988-90
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Church of the Year 2000, Roma, 1996
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City of Culture, Santiago de Compostela, 1999
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Jews Memorial, Berlin, 2005
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Bernard Tschumi, Parc de La Villette, Paris, 1982-1997
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A specific aim: to prove that it is possible to construct a complex architectural organization without resorting to traditional rules of composition, hierarchy and order.
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The principle of superimposition of three autonomous systems of points, lines and surfaces was developed by rejecting the totalizing synthesis of objective constraints evident in the majority of large-scale projects... the parc became architecture against itself: a dis-integration.
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Another goal: to displace the traditional opposition between program and architecture, and to deconstruct architecture by dismantling its conventions, by using concepts derived from both architecture and from elsewhere - from cinema, literary criticism and other displines.
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The Manhattan Transcripts, 1976-81
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Studio National des Arts Contemporaines, Le Fresnoy, 1991-97
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1978, 1995, 2001
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1995
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2001
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Rem Koolhaas, Elia Zenghelis, Exodus, or the Voluntary Prisoners of Architecture, 1972
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Superstudio, Monumento Continuo, 1969
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Parco della Villette, Parigi, 1982
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Teatro Nazionale di Danza, L’Aia, 1984-87
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Sea Terminal, Zeebrugge, 1989
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Biblioteca di Francia, Parigi, 1989
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Villa Dall’Ava, Parigi, 1991
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Kunsthall, Rotterdam, 1993
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Casa da Musica, Porto, 2005
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New Public Library, Seattle, 2004
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Mc Cormick Tribune Campus Center, Chicago, 2003
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Rem Koolhaas + Cecil Balmond, Serpentine Gallery Pavilion 2006, Londra
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Zaha Hadid, The Peak Club, Hong Kong, 1982-83
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Vitra Fire Station, Weil am Rhein, Germany, 1989-93
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Museo Nazionale delle Arti del XXI secolo, 1998
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Stazione dell’Alta Velocità di Napoli, 2003
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Museo mediterraneo dell'arte nuragica e dell'arte contemporanea, Cagliari 2006
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Daniel Libeskind, Victoria & Albert Museum, 1996
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Daniel Libeskind, Museo Ebraico, Berlino, 1997-99
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Museo d'arte, Denver, 2006
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World Trade Center, 2003
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2. Dictionary of Advanced Architecture
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AA >> Advanced Architecture>> Action>> Antytipe
An action (an architecture) that is advanced is an action (an architecture) which is necessarily projective: propositive and anticipatory/anticipating. An action (an architecture) with the capacity to connect with technological change (industry and technique), with cultural progress (thought and creation) and with scientific logic (research and development).
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Action
What we are interested in today is an ‘action architecture’ defined by a desire to act, to (inter)act. That is to activate, to generate, to produce, to express, to move, to exchange and to relate.
To promote interaction between things, rather than interventions on them. Movements, rather than positions. Actions rather than figurations. Process, rather than occurrences.
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Alejandro Aravena, Elemental, Cile, 2003-2004
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Antitypes
A surprising image shows a car coupled to an aeroplane…This is not an univocal object… it is not a typological design, but rather an a-typological mechanism; an antitype.
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MVRDV, Frosilos, Copenaghen 2005
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MVRDV, Pig City, 2001
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>> Form (and no-form) >> ambiguity>> Interfaces>> Devices>> Dispositions>> Situation >>“Excited place” >> form >> ambiguity
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Ambiguity
Univocal space now yields to a space decidedly ambivalent…
In a multifaceted, polyphase, definitively non-essential reality, architecture can create spaces that are more plural, by virtue, precisely, of being indeterminate. Implicitly changing and (in)formal. Multiple. Multiplied and multiplicative.
A building can be a garden. A garden, a building.
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Francois & Lewis, Case Rurali, Jupilles, Francia 1996
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NL, Basketbar, Utrecht, 2003
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FOA, International Port Terminal, Yokohama, Giappone, 2002
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DevicesOur challenge as architects is to produce new devices of action… Dispositifs (devices) (open and evolutionary) rather than design (closed and exact).
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Topotek 1, Temporary Playground, Garden Show, Wolfsburg, Germany 2004
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>> Diversity>> Housys>> Inhabiting>> Livrid (live+hybrid)>> Lightness>> Precarious(ly)>> Reversible
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DiversityOurs is a time of diversity, calling for constant simultaneity of individual events in global structures… evidencing the impact –the emergence- of the singular upon the collective, not as “part of the whole”, but rather as specificity “interconnected with the whole”.In our time there exists the conditions for assuming creatively this fragmentation, and thereby attaining an anthropological universality which also integrates plurality, difference and discontinuity.
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MVRDV, Hageneiland , Netherlands, 2001
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HybridLand-archLand(s) in landsEcology >> Ambiguity
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Land-arch…as an instrument. This shift has been favoured by the passage from a generation obsessed with the relationship between architecture and city to another, the latter more aware of a new contract with nature (a nature evidently epic, mongrel, manipulated, rather than domestic and bucolic).
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MVRDV, Dutch pavilion Expo 2000, Hanover
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New dynamics conform to an incipient vocabulary of a hybrid contract… Construction that would artificially integrate movements –or moments- of nature, in some cases “architecturalising” the landscape (modelling, cutting, folding…), proposing new topological shapes (reliefs, waves, folds)…
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…in others, landscaping (lining, enveloping, covering) an architecture in ambiguous synergy with the strange nature that surrounds it.
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Plot, Maritime Youth House, Copenhagen, 2004
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Imaginative formulas capable of favouring this new natural contract… would reside precisely in its capacity to incorporate the technical, plastic and perhaps unheard-of solutions neither paralysed nor diminished by the presence of the nature, but rather stimulated precisely by the possibility to incorporating it, of spurring it, of reformulating it –of enriching it rather than conserving it.
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Land(s) in lands“Operative landscapes” rather than “host landscape”.As with the city, which has blurred the boundaries separating it from former extramural territories, today the architectural project too can blur its profiles –and its edges- in new geographies of transition. The application of new structural and technical concepts… now permit the positing of a deformation of the old Euclidean structures, transforming them into multilayered spaces… towards almost geological processes… spaces of folding rather than prismatic volumes…Topographies rather than volumes.“Lands over other lands”.Constructed geographies rather than architectures.No longer lovely volumes under the light, but rather ambiguous landscapes under the sky.Fields within other fields. Lands in lands.
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Eden Bio is a 100-unit social housing development in Paris. The project features terraced houses along pedestrian alleyways. Staircases to reach the upstairs units will be mounted externally and covered in plants.
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EcologyInstead of old nostalgic or pseudobucolic ecology (which freezes landscapes, territories and environments), we suggest a bold ecology. Based no longer upon a timid, merely defensive –resistant- non-intervention, but rather upon a non-impositive, projecting and qualifying –restimulating- intervention in synergy with the environment and, also, with technology.An ecology in which sustainability is interaction.In which nature is also artificial.In which energy is information and technology is vehiclisation.In which to conserve implies always to intervene.
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3. The Planetary Boundaries
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Nairobi, Kenya
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Israel/Palestine separation wall
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4. The Nordic Model
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MALMO, Västra Hammen
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