nacho ruiz_the stair that leads nowhere
DESCRIPTION
Venturi, Eisenman, KoolhaasTRANSCRIPT
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THE STAIR THAT LEADS NOWHERE
* [CONTRADICTIO IN TRMINIS] NACHO RUIZ ALLN
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First Act
It is 1964
complete
significan
Venturi, w
Architect
this way,
through t
ended up
find one
We are ta
placemen
that hang
room on
author, w
paint the
4 at 8330 Mi
ed his first bu
nt architectur
was immerse
ture. In the
house and b
two complim
p becoming m
element, hard
alking about a
nt between th
gs above the
the first floo
whimsical. Ev
ceiling above
illman street
uilt work. The
ral manifesto
ed in the writin
ir parallel de
book, book a
mentary techni
matter. From
dly relevant, w
a stair. Not t
he chimney a
previously m
or and ends a
ven though, o
e it.
in Chestnut H
e Vanna Vent
es of the sec
ng of the boo
velopment, th
nd house, m
iques: writing
m within the c
which we prop
the renown m
and the porch
mentioned ma
against a wal
on the other h
Hill, a suburb
turi House, th
cond half of
ok that will ca
he cross-con
morph into the
g and drawin
commotion o
opose to rescu
main stair that
h. We are ref
ain stair inter
ll. Because
hand, he rem
b of Philadelp
he house for
the twentieth
atapult him int
ntamination b
e same objec
ng. And drawi
of all the com
ue.
t connects th
ferring to ano
rrupting the v
of this it cou
minds us, it se
hia. A young
his mother,
h century. At
to fame, Com
becomes inev
t that is susc
ing, as is usu
mplexities that
e ground floo
ther stair. On
void above it.
uld be consid
erves to clean
g American a
will become
t the time, its
omplexity and
vitable. It wa
ceptible of be
ually the case
t take place in
or to the first
One that is sm
. This stair s
dered, using
n the window
architect has j
one of the m
s author, Rob
Contradiction
as deliberate.
eing represen
e in architectu
in the house,
floor, forcing
mall, discreet a
springs from
the words of
w on its side a
just
most
bert
n in
In
nted
ure,
we
g its
and
the
f its
and
-
Second Ac
We are n
rises a s
House VI
responds
the habit
simultane
process,
interactio
The two
layout an
the one t
the first
rotated e
this stair
ct
now in Cornw
strange house
I. Designed b
s to ambitious
tual discrimin
eous coexist
all of the el
on.
stairs are the
nd pigmentati
that ascends
floor to the s
equivalence o
is not such, r
wall county, C
e whose nam
by New York
s spatial stra
nation betwe
tence. To do
lements that
e only eleme
ion respond t
from the gro
second. We
of the first, sh
rather, it is on
Connecticut,
me hints at th
architect Pete
tegies in an e
een exterior a
o so he use
define the r
nts of the ho
o the same g
ound floor to
say suppose
howing the ne
nly the invers
1975. Place
he possibility
ter Eisenman
effort to dism
and interior,
ed color, am
residence are
ouse that are
game of recip
the first. Th
edly because
egative of its
se of the real
ed in a natur
of finding sim
as a vacation
mantle the esta
front and b
ong other st
e painted whi
e colored. On
procities whic
e red one, is
e even though
steps, the h
one.
ral setting and
milar constru
n home for clo
ablished cano
ack, frontal
trategies. Fo
ite or gray.
ne is green.
h originated t
the one whic
h from below
house does n
d hidden am
uctions in oth
lose friends.
on. He attem
and oblique,
ollowing a st
The conflict
The other r
the project. T
ich supposed
w the stair ap
not have a se
mongst the tre
her places. I
Its formalizat
mpts to elimin
...by forcing
trict codificat
arises out th
red. Their fo
The green stai
dly ascends fr
ppears to be
cond floor. A
ees,
It is
tion
nate
its
tion
heir
orm,
ir is
rom
the
And
-
Third Act
Years lat
emulating
unit resi
possibilit
the expe
materializ
them.
Each one
homes ar
room allo
generous
missing a
ter, at the ot
g his mercha
idential comp
ties of mergin
erimental grou
zed serve as
e of its reside
re located on
ows, in some
s dimensions
an indispensa
ther end of
ant ancestry,
plex. Its c
ng the urban
uping of Mie
a virtual plin
ences is dev
n the upper le
e cases, to p
s, has typica
able element
the world, in
overcomes J
called Nexus
grid of a rom
es van der R
nth for the ne
veloped in thr
evel. Living R
place a balco
l handrails a
for its use. I
n Fukuoka, th
Japans legen
World. Its
man city whe
Rohes cour
ever built tow
ree levels gro
Room, room
ony at a high
and wood flo
It does not ha
he largest ci
ndary insular
s author, Rem
ere the object
rtyard houses
wers that were
ouped around
with tatami a
er level. This
ooring... All
ave a stair.
ity in Kyushu
r hermetic na
m Koolhaas.
t quality of th
s. The two
e supposed t
d a patio. Th
and terrace.
s balcony, ha
in all, its inh
u, Japan. A
ature and buil
. The proje
he residences
blocks in wh
to have been
he most publi
The great he
alf interior ha
nhabitable. N
Dutch archite
lds in 1991 a
ect explores
s is diluted, w
hich the proj
n erected beh
ic spaces of
ight of the liv
alf exterior, is
Nevertheless,
ect,
a 24
the
with
ject
hind
the
ving
s of
its
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Robert Venturi, Peter Eisenman and Rem Koolhaas. The audacity of mentioning three architects with such distant
positions in the same text, as well as associate them under the common denominator of a stair requires at least an
explanation. It is a simple one: they are not so divergent. The three share a similar critical attitude towards the
complexities of the world in which they have had to build, whether it be theory or buildings.
In terms of theory, a comparative reading of their principles, interests and objectives, makes it possible to venture
that beyond what might appear at first sight, there lies a deep connection. All three have come to the same
conclusion: the only way to regenerate the discipline of architecture in the postmodern era, a period in which the
confidence of its ideological function has been lost, is by calling into question the coherence of its internal nature.
In terms of practice, it gets even more complicated. If the faithful transfer of the world of ideas into matter already
presents itself as a difficult exercise, it will be even more difficult to verify the link that, in theory, keeps them
together. The similarities, equivalences, reciprocities... are diluted in practice, where the reality of the built work is
imposed over mental abstract constructs.
Nevertheless, occasionally, the similarities of their theoretical frameworks have successfully transcended the
conceptual plane to materialize into matter. Examined through a carefree Benjaminian perspective we could say
that we are dealing with fortunate coincidences. This is possibly true without a need for further questioning. But,
why not venture an alternative hypothesis? If we accept that, in the end, they all follow the same libretto, even
though interpreted in different keys, we should stop talking about coincidences. And considering the absolute lack
of innocence that has guided their respective professional careers, we would not fare well to consider them
fortuitous.
Jeffrey Kipnis claims the architectural tale only makes sense if it generates a productive fiction. Following this idea,
we will put forward an alternative interpretative view of their architectural connections. To prove it, we will
concentrate on three particular versions of the same architectural element: the stair. Venturis whimsical stair in
the Vanna Venturi House, Eisenmans unreal stair in House VI and Koolhaas non-existing stair in the Nexus World.
The stair in the Vanna Venturi House does not lead anywhere1 as it is absolutely unnecessary. The only motivation
that we can assure it responds to is the elaborate play of juxtapositions and coexistences that define the residence.
Venturi has no objection in considering it whimsical. Like other elements of the domestic narrative, this stair does
not have a structural2 meaning, nor a functional one. It only has value as a simple de-contextualized object. Its
1 Robert Venturi described it as the little nowhere stair. See Venturi, Robert, Complexity and Contradiction in Architecture, New York, The Museum of Modern Art Press, 1966, 118. 2 Here the term structural is used in a sense close to the structuralist discourse. According to which in every form one can distinguish, on the one hand, its elements first, and on the other, the relationships that are established between such elements that guarantee the existence of the ensemble as a system. The most synthetic proposal of structure was formulated by Louis Hjelmslev for whom it is, essentially, an autonomous entity with internal dependencies.
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existence is only justifiable as a symbolic representation of the stair as an architectural element, and not as a stair
itself since what matters the least is that it responds to the expectations of use that its presence suggests.
The stair in House VI cannot be considered real3. Even though it aspires to be so, or at least it appears to be. It is
not just another element, placed freely wherever. Its form, design and dimension are justified by the play of
relationships that gives form to the house. Moreover, this stair forms part of the spatial and conceptual core of the
project. Even so, it cannot be utilized. And contrary to the previous case, it does not pretend to symbolize the
object commonly known as stair, since this house is conceived in a way that all of its elements strip themselves of
their habitual semantic connotations. Therefore, that which looks like a stair, as is the case for the rest of the
architectural elements, only has meaning as a syntactic notation of an abstract compositional process. Nothing
more.
In the Nexus World there is not even a stair, even though it is necessary to access the unreachable balcony4 that
projects over the living room of some of the residences. An inclined mast, that would be difficult to climb, is the
only element the connects the living room and the balcony. Its presence makes the absence of the stair even more
palpable. It does not even appear as a mere symbol or notation, as occurs in the previous examples. Nor signifier
nor signified. Even though its function is more than justified and there is a place to be reached, it is nowhere to be
found.
If there is something the three cases have in common is the incomplete presence of the object/stair. Only part of
its internal nature is exhibited. The stair in the Vanna Venturi House only has a symbolic presence, the stair in
House VI is nothing more than a structural notation; the one in the Nexus World only gets alluded to by a functional
necessity. If we were to add these three qualities we would obtain a complete stair whose presence would be, at
the same time, symbolic, structural and functional. As is usually the case.
Each one of the these stairs is the physical materialization of the main arguments that have guided the trajectories
of their authors. Venturi maintains a close relationship with the semantic aspects of architecture. Eisenmans
efforts have concentrated in divulging his idea of architecture as syntax. Koolhaas shows a special predisposition
for everything concerned with program, or in other words, the programmatic component of the discipline. Their
respective work represents the three currents in which the postmodern practice of architecture has split into, once
consummated its transformation into language.
3 In an article about House VI, Robert Gutman called it the unreal staircase. It was his understanding that this staircase was used to inform the visitor that this house could not be read according to typical architectural conventions. See Eisenman, Peter, Gass, William y Gutman, Robert, House VI: Residence, Critique of Weekend House by Pilosopher, Sociologist, and Architect Himself, Progressive Architecture, n 58, June 1977, 65. 4 Hard-to-reach balconies as understood by Roberto Gargiani. See Gargiani, Roberto, Rem Koolhaas/OMA. The construction of merveilles, Lausanne, EPFL Press, 2008, 185.
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Without abounding in their dislocated physical presence, but rather in what the stairs suggest as an ensemble, it is
possible to venture that all of them respond to an act that is, in essence, the same: the decomposition of the
internal logic of what has been normally been called a stair, making it unnecessary, not useful or non-existent.
These other stairs are the built version of the common crusade that these three architects have carried out against
the substance of architecture as it is traditionally conceived.
The choice of the stair as the theme is not circumstantial. Most likely, this was the first complete architectural
episode in history, one in which we simultaneously find space, determined by form, and time, necessary for the
development of action that the stair suggests. On the other hand, when communicating different levels, it is not
absurd to consider the stair as the embryo of the vertical component in architecture. Putting into question its
nature means, in a way, to dismantle some of the most rooted principles of the discipline of architecture that have
been passed on from generation to generation since the beginning of time.
In addition, to dislocate a stair inscribed in a domestic space supposes an act too perverse to be considered
innocent or merely rhetorical. In doing so, the architectonic dogmas, as well as the social conventions that are
responsible in many ways for giving historical consistency to them, are put into question. Implicit in this act lies
the insinuation that, as we are already settled in post-modernity, the only way in which o can do architecture is to
situate ourselves beyond the limits imposed by the dogmas and the conventions. Wherever its influence does not
reach and the legitimacy of its precepts crack.
In those years, in which this last cultural period was starting to be given built form, Venturi, Eisenman and Koolhaas
were not the only ones to operate this way. Perhaps the most clear example we find in Lars Lerups conceptual
drawings.
For Lerup, the home was the most apt battlefield in which to explore the conflict between architecture and a set of
conventions in which it has no place5. Lerup proposed a series of planned assaults whose aim was to subvert the
logic of all that formed part of the domestic phenomenology. In this way, besides the stairs, he also dislocated
other habitual components, such as doors, windows, floors and ceilings. The result are intertwined fragments of
house and architecture, he claims, defying any complete readings and rejecting all dogma 6.
Venturi, Eisenman and Koolhaas produced similar operations over the course of their respective careers. If there
was something guiding them, it was their eagerness to distort in different ways a pretty ample repertoire of
common architectural elements. Amongst them, the choice of the stair seems of special interest because it adds
an extra dimension to the matter: the metaphoric.
5 Lerup, Lars, Planned Assaults, Cambridge, Massachusetts, The MIT Press, Canadian Centre of Architecture, 1987, 55. 6 Lerup, Lars, bid, 56.
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Their reformulations of this element are the synthesis of two consecutive impulses. One, as Umberto Eco would
say, has to do with the effect that the stair produces as a universal architectural sign: it stimulates one to climb7.
The other, added by them, is new and it is presented in dialectical opposition to the first. Once one is invited to
climb, the ascent, in one way or another becomes impossible.
Nothing stops one from using the stair at the Vanna Venturi House, but it lacks a destination. The stair in House VI
suggests the existence of an upper floor, but this one does not exist. In the Nexus World there is a place to be
reached, but the absence of a stair makes the attempt to do so worthless. Even though in the three situations the
ascend is tentatively insinuated, it is not possible to reach that other place, whether it is because it does not make
sense, because it does not exist or simply because it is unreachable. If we add the received stimulus with the
possibility of its accomplishment, one can conclude that these stairs lead us nowhere.
The stair that leads nowhere is the cruel metaphor of the postmodern architectural condition. The modern myths of
progress and utopia have lost their redemptive capacity, and the most recent architecture does not pretend to be a
promise of a better future. It does not even maintain its faith in the classic belief that the evolution of the discipline
continues ad eternum in an ascendant line to higher levels. It no longer aspires to erect towers of Babel nor Jacob
ladders. The doors to the beyond have been closed. The faith in architecture as a necessary vehicle to transform
the world has derived into a skepticism much closer to the complexity of the present reality. Lets not get scared.
Perhaps it is only the transition from puberty to maturity. Contemporary architecture, at last, has lost its innocence.
The reactions to this situation have been varied. Some wandered over the rubble of past beliefs, trying to
reconstruct conceptual armatures without much resistance. Others maintained a happy and carefree adhesion to
reality, this is what there is, they must have thought. The rest took refuge in a telling silence. Nevertheless, despite
these divergent attitudes, none of them was able to free themselves from the verdict pronounced by Tafuri: if
something distinguishes architecture for some time now is its sublime uselessness8.
To deal with this situation, Venturi, Eisenman and Koolhaas were able to embody an interesting alternative. And
what is more, they learned to provide an answer that was implicated in the matter, transforming that uselessness
into an operative tool. Their reasoning would be the following: if architecture has definitely settled into a sublime
uselessness, lets make use of this circumstance. Let's make it vox populi that the architecture itself reveal this
new condition from its interior, that it rip to shreds the formulation of its discourse; that it rebel against it, that it
stop aspiring to perfection and coherence, that it show its scars, lacerations, contradictions and hidden
repressions. In short, that it come clean with its own anguished reality.
7 Eco, Umberto, La struttura assente. La recerca semiotica e il metodo structturale, Miln, Bompiani, 1968. 8 Tafuri, Manfredo, Progetto e utopia: Architettura e sviluppo capitalistico, Bari, Laterza, 1973 (English edition: Architecture and Utopia: Design and Capitalist Development, Cambridge, Massachusetts, The MIT Press, 1979, IX)
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If in addition, it is also able to shake the consciousness, putting into question the image of the world that has been
described, penetrate the cracks of reality, understand that other sensible horizons exist and point towards new
aesthetic paradigms, that is, propose a critical positioning, an aspiration that guided its first theoretical impulses,
the road ahead presents itself productively.
And since we are talking about the road ahead, lets not forget that it no longer has a ascendant logic. It is a
truncated road due to the way it enters into territories from which it is no longer possible, nor indispensable, to look
for a way out. This is fuel that feeds an activity that no longer is concerned with going in a specific direction, but
rather, extract the maximum profitability from a situation in which, as Reinhold Martin has recently expressed, there
is nowhere left to go9.
Venturi, Eisenman and Koolhaasstairs are the precise reflection of this circumstance, when metaphorically
manifesting the incoherence of a movement as impossible as it is useless, that does not lead anywhere. In them is
held, at least implicitly, the distorted logic that guided the drawing of Piranesis Carcieri series. Responsible in
Tafuris view of a negative utopia whose grandeur lies precisely in its denial to create alternative possibilities10.
And also, why not, something of the architecture without purpose of the city of the immortals described by Borges,
whose creators, esteeming all exertion vain, resolved to live in thought, in pure speculation11.
In conclusion, every time the dysfunction of a stair implies the risk of falling, we will have to conclude that the
modern promenade has finally turned into the postmodern precipice. But not so that we jump, but rather so that
the temptation of the abyss reminds us, that for some time, the seams of the road have become undone.
9 Reinhold Martin considered that postmodernity had meant the rupture and fragmentation of modernitys linear narratives. The result is an architectural panorama in which there is nowhere to go. The best way he found to explain it was through a story similar to the one told here. Using the logic of architectural circulation sequences, he compared Le Corbusiers conciliatory and cinematic promenade architecturale of Le Villa Savoye of 1929, the anticlimactic truncated circulation routes of James Stirlings Neue Staatsgalerie in Sttugart of 1983, Oswald Mathas Ungers never built Wallraf-Richartz Museum in Cologne of 1975 and Charles Moore and Richard Chylinskys Rogger Hofflander Condominium in Los Angeles of 1978. In this last building, Martin detected numerous stairs that lead nowhere in particular. He related the frustrated connections of its interior spaces with Piranesis engravings in which the sinister and the sublime took place. For Martin, this project, as well as the previous ones, has been content to exchange the master narratives of modernism for any number of inconclusive, episodic, and noncommittal micronarratives that add up, exactly, to nothing. See Martin, Reinhold, Utopias Ghost. Architecture and Postmodernism, Again, Minneapolis, University of Minnesota Press, 2010, 153-164. 10 Tafuri, Manfredo, La sfera e il labirinto: Avanguardia e architettura da Piranesi agli anni 70, Turn, Einaudi, 1980 11 According to Borges, in this city there where corridors that led nowhere, unreachably high windows, grtandly dramatic doors that opened onto monklike ceels or empty shafts, incredible upside-down staircases with upside-down treads and balustrades. Other staircases, clinging airily to the side of a monumental wall, petered out after two or three landing, in the high gloom of the cupolas, arriving nowhere. Borges, Jorge Luis, El Aleph, Buenos Aires, Editorial Sur, 1949.