I

Thesentimentoffutureruins.

Marcos Anton (11037890)

London Metropolitan University

II

What is the function of Nostalgia in the architectural object?

III

nostalgianoun nos·tal·gia\nä-ˈstal-jə,nə-alsonȯ-,nō-;nə-ˈstäl-\

Pleasureandsadnessthatiscausedbyrememberingsomethingfromthepastandwishing

thatyoucouldexperienceitagain

IV

Cover……………………………………………ITitlepage……………………………………….IIConcept……………………………………….III

TableofContent……………………………………IVIllustrationList………………………………….V

Introduction

Thesisoftheessay…………………………..VIIntroductiontotheconceptofNostalgiainArchitecture

I)Nostalgiathroughdifferenteras

HistoryofNostalgia……………………..VIITheindustrialera……………………....VIIIPerceptionofremains…………………..IXExperienceofruins…………….…………X

II)EmphasisingwithArchitecture

Wöllflintheory……………….XIKierkegaard……………...XII

Reuseofcontemporaryruins……………XIII-XIV

Conclusion

SummaryoftheevolutionofNostalgiaandTheconceptofspace…………….XV

Bibliographie…………………………………….XVI

TABLE OF CONTENT

V

ILLUSTRATIONLIST

Figure1:“AllGizapyramidsinoneshot”,2006,ElCairo,Egypt,www.flickr.com/photos/51035655291@N01/171610084/.

Figure2:“LeptisMagna,Libya”,2010,Libya,http://www.bootsnall.com/articles/10-

03/10-best-roman-ruins-outside-of-rome.html

Figure3:“MillenniumMillsofDocklandwalk”,2013,Dockland,UnitedKingdom,http://benbansal.me/?p=1059

Figure4:“RuinsofGuatemala”,2006,cityofGuatemala,Guatemala,

http://efdreams.com/data_images/dreams/ruins/ruins-08.jpg

Figure5:“TurningtorsobySantiagoCalatrava”,Malmö,Sweden,http://www.planoyescala.com/2014/10/terminado-en-que-se-inspiran-los-

arquitectos.html

Figure6:“HochöfenderVölklingerHütte”,2012,Völklingen,Germany,https://commons.wikimedia.org/wiki/File:VH_zwischen_HO.jpg#/media/File:VH_zwi

schen_HO.jpg

VI

"Architecturecanappearasfreeandbeautifulartonlyinsofarasitbecomestheexpressionofideas,animageoftheuniverseandoftheabsolute.Yetarealimageoftheabsoluteandaccordinglyanimmediateexpressionoftheideasis,accordingto§62,everywhereonlytheorganicforminitsperfection."-F.W.Schelling.ThePhilosophyofArt.Pg.53

Historyisdefinitivelychange,movement.Nothingremains,everythingisaflow,atransitionfromonestatetoanother.Andeveninwhatapparentlydoesnotchangeonecanstillfindatransformation.Architecturecertainlyisnotsavedfromthisprinciple.Someworksaredestinedtohavealonglife.OnethinksoftheSphinxofGizeh,whichhasseeninfrontofitseyesamillenniumafteranotherandkeepsitsenigmaticsmile;othersdonotenjoysuchluckandafewyearslatergettransformedsignificantlyortheyareevendestroyed.

Architecturebecomesmorevaluablewhenitexceedsthesimpleconstructionandachievesanindissolublefusionwiththeplaceitgrowsroots.Thearchitect'sworkbecomesmoredelicateandintensewhenreferringbothtotheworkastheinvisiblecomplementaryspaceofthearchitecturalobject.However,thenotionofcontextandplace,thusunderstood,hasnothadthesameconsiderationorthehistoryofarchitectureormodernityitself.Muchofthearchitectureofthetwentiethcenturyhasbehavedstrangeambiguityaboutwhereitstands,eitherbyviolenceorbyreverentialcompliance.Todaythenostalgiaofplacemanifestsitselfasoneofthefewredoubtsofarchitecturetoachievesomemeasureofsignificationandavoidirrelevance.

Itisimpossibletounderstandentirelythearchitectureworksofadistantpast.Wehavelostalmostallpossibilityoftruthfulinterpretationabouttheiroriginaluses.Knowledgeofcultureandsocietythatproducedthemisinaccessibletousandyetwecanstillfindmeaninginthelegacyofarchitecturethankstothestrengthofthelinkbetweenitandtheplacethatremainslocked.Onagrassyplain,onecanseeerectedamegalithicmonumentlikeStonehengewhichisastatementoftheartificialityandcuriosityofmanagainstnature.Wearenotabletotracemorethanavaguehypothesisaboutitsmodeofconstruction,aboutitspastasanastronomicalcalendar,asatombormonument,however,theassemblybetweenthosehugestonesandterritoryisstillaliveandupdatesthework.Stonehengeisnowricherandmorecomplexthanitwasforthepeoplewhoerectedit. Abuildingbeyonditsform,isadrawerofvoicesandlives.Architecture,theartofconstructingbuildingsandmemories,canbeabridgeforpeopletorecognizetheirhistoryandthepathstheywanttoundertake.Whatisthenthefunctionofnostalgiainthearchitecturalobject?

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"Oursisanostalgicera,andphotographsactivelypromotenostalgia.Photographyisanelegiacart,atwilightart.Almosteverythingthatphotographyissteepedinpathosbythemerefactofbeingphotographed.Somethingugly,grotesque,canbepoignantbecausethephotographer'sattentionhasdignifiedit.Somethingbeautifulcanarousebitternessthathasagedordecayedornolongerexists". -SONTAG,S. Itistruethatoursisanostalgicera,butalthoughtraditionallycriticismhasjudgedthemostromanticcontemplationofruinsfromacertaintasteforanachronism,orasamorbidmelancholy,thisinterpretationissuperficial.Longanalyzedfromthephilosophyfield,ruinshighlighttheexpirationofhumandesire,representthevictoryofnatureoverman'sworkwhowantedtoestablishitselfascreator.Throughcontemplation,themanfaceshimself,hishumancondition,itslimits,itssmallnessbeforenature,andatatimelikethepresent,wherethepacesetbysocietyleaveslittletimetostopandthink,industrialruinprovides,atlast,areasonforreflection.Thisview,thisnewlook,opensanotherwayofaddressingthislegacy,whichmovesawayfromthemosteconomicproposalsorapproachestoreusebasedonanobjectiveachievement:whynotkeepthatworldoffeelingswhichgeneratesthecontemplationofindustrialruins? Iwoulddefendtheideaofdeadspace.Forexample,noonewouldthinknowofconvertingthepyramidsofEgyptinlivingspaces(figure1),asidethattheyneverwere.Or,forexample,theruinsoftheGreekcitiesorRomancities(figure2),whicharebeautifuldeadspaces,andarepartofgeography.Theyalwayssay"thismustbereused,youhavetofillitwithlife,youhavetofillitwithcontent,"Well,andwhynotleaveitasatestimonyofsomethingthatwasandthatbasicallybelongseventogeography?Ruinshaveavalue,evenapositivevalueagainsttheexcessofspaces"filled"withcontent.

Figure 1

Figure 2

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Itisthe"non-functional"claimofindustrialremains,whichoffersanalternativetodemolition,therestorationortheconventionalreusethroughotherservices.Therefore,inthecontemplationofabandonment,thenowsilentinteriorlargevoids,natureinvadesandcoversthemoderndream,theEuropeanspiritrevivesthenotionsrelatedtotheideaofaruin.Nostalgia,evocation,loneliness,beauty.Industrialremainsreflectmelancholy,arouseintheobserverfeelingsthatjoininaquietnostalgia,orfacethelonelinessthatisproducedwhencontemplatingthefuturebyignoringthepast.Fillingthemwithcontentorrepresentingtheirhistorywithlearningobjectivesleavesoutthatexperiencethatcanonlyoccurthroughincompletetraces,bywhichmancanimagineaswellasevokingechoesofthepast.Nowthereisnoactivity,nomovement,noexploitation,noglareagainstthesky.Nevertheless,contemplationofindustrialresiduescontinuestoproducesensationsintheobserverthatmovefrequentlybetweenloveandhate. Therefore,inacenturyofindustriallandscape,menhavegonefromfascinationbasedonformalbeautylinkedtoefficiency,tomixingnostalgiawithhistoricaldiscomfortandadmirationwhencontemplatingtheseremainsinthestateofruins(Figure3).Simmelsaidthattheruinsweretheresultofthegreatstrugglewagedbetweenmanandnature.Architectureadmirablysolvedthebalancebetweensoul,tendingupwards,andgravity,whichpullsdown.

Andthisuniqueandsingularbalancebetweeninertmatter,subjecttomechanicallawsandpassivelyresistthepressureexertedonit,andthecreativespiritualityofman,whichtendstogohigh,isbrokenatthetimethebuildingdegradesandcrumbles.Thebalancebetweennatureandspiritwhichrepresentedarchitecturegiveswaytonature.

Figure 3

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Andthisruptureofbalancecausesacosmictragedyengulfingruinalltheshadowsofmelancholy.Theeffectistragicbutnotsadbecausethedestructionhasnotcomefromoutside,it'sjustnaturetakingitback,andsotheruinsexudeasenseofpeace. Wecouldtracethismoreobjectiveperceptionoftheindustrialremainstothoseearly"ready-mades"ofDuchamp.Inthefirstdecadesofthetwentiethcentury,whilearchitectsandengineerswereseekingforthesolutionoftheunionofartandtechniquebasedonfunctionalityandaestheticquality,otherauthorssuchasMarcelDuchamp,ManRayandFrancesPicabia,tooktheoppositeapproachanddeniedanyfunctionalvalueofthemachine,openingtorealityasafocusforinspiration.Breakingthelimitsoftheartistic,Duchampgavenewmeaningtoanydecontextualizedfromitsoriginalsite. "Theready-madeofDuchamphasacquiredafterhavingbeenconsideredforseveralyearsasasympatheticcraziness,aconsiderablescope:thedeliberatechoiceoftheartistmodifiesthefirstdestinationoftheobject,assignsatotallyunexpectedexpressivevocation." -6CABANNE,Pg.:ConversationswithMarcelDuchamp Fromthisperspective,onceitsmeaningislostwiththelossofitsfunction,thelargesetofindustrialremainsscatteredthroughouttheterritorycanfindanothersensebasedontheirformalvalues.Itistruethat,unlikeDuchamp'sready-mades,thissetofelementsbuiltphysicallyoccupythesamepositiontheyhadatthetimeofitscreation.However,nowitisthewholecontextwhichhaschanged.Withthedeindustrialization,alltheentireindustriallandscapehaschanged.Activityhasceased,naturehasbeengainingbackitsland,andthesameforceslookpostmodernthoughtdifferently.Thus,therearenotonlyindustrialbuildingsbutthelandscapeitselfbuiltwhichhaslostitsoriginalmeaning.Andso,equippedwithnewmeanings,farfromthinkinginwhichtheywerecreated,thesearchitecturesbecomeart,artinthelandscape.Industrialresiduesfindtheirownidentityandsetotherlandscapes,whicharenolongerromanticorbucolicorpastoral.Theyarethenewcontemporarylandscapes. Wehaveseenthatthefirstapproachtothesepost-industriallandscapescomesthroughphotography.FollowingthepathopenedbyDuchamp,whichvaluesthecityanditscontentsasan"objecttrouvé"inrecentyearstheyhavemultipliedthiskindofartisticexpressionsthattakethepostindustrialrealityasaworkingbasis.Withoutanypoliticalorecologicalclaim,andevensentimental,urbanphotographersandfilmmakersshowsomescenariosinwhichthingsareattheperipheryorproceedtomakeaninventoryofasetsuggestivebuildingsfromtheformalpointofview. IfIplacemyselfinaphenomenologicalperspective,theaimofmyconsciousness(whichisalwaysconsciousnessofsomething)establishesanasymmetryinitsfavorcomparedtomostsurroundingobjects,muchlikethetablethatisinmyview.Ruinshavealwaysbeentheimageofourhistory,aneasywayofunderstandingourancienttimesofliving. Thisbrokencityisformanyofus,animageofoursouls.Kantcalls"intensivemagnitude"thedegreeofrealityofaphenomenon,limitingittothenegation.Forexample,anypureintuitionwouldbeanintensivemagnitudeof0.Butwhatdegreeofintuitiondoruinshold?Inotherwords,whatisthe"intensivemagnitude"ofruins?

X

ThisbrieffragmentofDiderotwillguideus: "Obeautiful,sublimeruins![...]Whateffect!whatgreatness!Whatnobility![...]Withwhatastonishment,whatasurpriseIlookatthisbrokenroof,themassessuperimposedonthevault!thepeoplewhoraisedthismonument,wherearethey?whathavetheybecome?howhugedarkandsilentdeep,myeyewillhegoastray?[...]Wenevertireoflooking.Timestopsforwhoadmires.Ijustlived!myyouthdidnotlastlong!" WhichincontrastinterestsusisthatDiderotdidadmireruins,henoticedwithsurprise,theireffect,theirgreatness.ThevisionofDiderotissooverwhelmedbytheappearanceoftheruins,andallthathisvisionisnotanattachmentpointbut,rather,an"error."Cansomeoneconsiderruinsaregrotesque? Forinstance,letusimagineawanderaroundsomeruins;whatwouldwefeel?Anticipationiskeyandwillbefromthebeginninguntiltheendofourjourney(Figure4).Howmanysecretscanruinskeep?Whilewalkingthroughtheruinsourbodiesstarttoempathizewiththesebrokenpiecesofhistory;oursoulssharethesamefeelingastheleftoversofthisstructure.Ruinsareasunpredictableashistorycanbe.Howfaristhiscontrolledchaoslimitedbyitswalls? Light,height,shadows,evenmaterialscanchangeourfeelingfortheseruins.Howbrokencanaruinbe?Oncewekeepwanderingaroundtheseruins,theystarttoembraceus,onestartstofeelseveralreactions;ourbodiesbegintoconnectwiththewallsandinitiateacertainempathywhichmakesussensewearealsobroken.Whycanpeopleseemorethanjustafewstonesontheground?Peoplemustrelatethisruinstosomebrokenmemoriesoftheirpast;nostalgiatakesasubstantialpartinthisemphasis. Nostalgiaisthenabodilysensation,suchasWolfing'ssenseofuneaseinthepresenceofanasymmetric.Isnostalgianotaconstructoftheimaginingmind,athoughtprocess,morethananemotionatfirst?Thisdistinctionplaysagreatroleinthe(romantic)ironistappreciationofruins:reflectionthatleadstoemotions. Figure 4

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"Formsbecomemeaningfultousonlybecausewerecognizeinthemtheexpressionofasentientsoul.Instinctivelyweanimateeachobject.Thisisaprimevalinstinctofman.Itisthesourceofthemythologicalimagination;andeventoday,isnotalongeducationalprocessnecessarytoridourselvesoftheimpressionthatanunbalancedfiguremustitselffeeluneasy?Indeed,willthisinstincteverdieout?Ibelievenot.Itwouldbethedeathofart."(Wölfflin.ProlegomenatoapsychologyofArchitecture.Pg.38) Wölfflinsummarisestoothersthatherefutes,likeVolkelt;HestandstocontemporariesthatalsothoughtthatMovementistheprincipalwayofunderstandingArt.Wölfflintheoryisthathumansempathizewithobjectsbyassociatingthemwiththeirbodies,soit'slikeadirectexperienceofArt.Moreover,hefocusesonempathyspecifictoArchitecture.Wölfflinarguesthatproportionsinarchitecturewereperceivedbybeholdersinrelationtoproportionsintheirownphysiques(Figure5).Oneassertionin"ProlegomenatoapsychologyofArchitecture"isthatthefaçadesofbuildingscorrespondtohumanfaces,aswellasempatheticcorrespondencesthatheclaimsviewersfeltbetweenwindowsandhumaneyesandbetweenarchitecturalcornicesandeyebrows.Thissubjectisthentosomeextentasubjectivepsychologicalexperience.Wolfflinsuggeststhat"Formsbecomemeaningfultousonlybecausewerecognizeinthemtheexpressionofasoul.Instinctivelyweanimateeachobject.Thisisaprimalinstinctofman".Indeterminatelyhesaysinessencethatpeoplecanunderstandarchitecturebecausetheycanemphasisewithit,theycanfindsomethingsimilartothem,somethingtheyrelateto.Wölfflindeclares,"Whyisnoonesurprisedthatthestonefallstowardtheearth?Whydoesthatseemsoverynaturaltous?Wecannotaccountforitrationally:theexplanationliesinourpersonalexperiencealone."IndefinitelyWofflinisdescribingtheconceptofforminadifferentwaythatitmimicsthehumanbodies,suggestingthatwearelikethebuildings;therefore,weunderstandthem.

Figure 5

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Architectureifithassymmetry,itislikethehumanbody,inthetextWöfflincomparesanasymmetricbuildingtoabodywithamissinglung;Ifweseeabuildingbearingload,itissomethingthatwecanunderstandbecauseweknowgravityinourownbodies.Itisthensomethingthatitisincrediblyinfluential.Howthebodyrelatestoempathy,wehavebodiesandbuildingsaswellsowecanfeelwhatabuildingcanfeel. "Repetitionandrecollectionarethesamemovement,exceptinoppositedirections,forwhatisrecollectedhasbeen,isrepeatedbackwards,whereasgenuinerepetitionisrecollectedforward...Hopeisanewgarment,stiffandstarchedandlustrous,butithasneverbeentriedon,andthereforeonedoesnotknowhowbecomingitwillbeorhowitwillfit.Recollectionisadiscardedgarmentthatdoesnotfit,howeverbeautifulitis,foronehasoutgrownit."(SørenKierkegaard.Repetition.Pg.131-132) Kierkegaardseesitasarrestingstate.ButitspowertocaptivatecanbetracedtolateRomanic‘bastard’children,suchastheaestheticoffascism,generallyinGermany.Moreover,TheNazigovernmentwasplanningtoerectready-maderuins-likemausoleumtomarkbattlefilledwiththefuture,withtheemotiveeffectthattheyassertonacaptivatedaudienceinmind.Facedwiththenothingnessofthefinite,theimmeasurableeternityofthesublimerises,andwhatremainsisnostalgia,whicharouseslongingfortheungraspable.Whenrealityandidealityareseparated,itbecomespossiblecravinglove:thatintermediarycapableofmaintainingthebondofunityinthedistinctionofterms. Nostalgiaknowstheimpendingtragedy,theinevitablefalloffinitude,andyet,itattractsandfascinatesbecausethereeyinghimaccesstoanewpurelyspiritualreality.Soitisdeterminedasa"godlysorrow"asthepathosoftheabsolutespiritdissolvinginthedeepbosomofGod.Inshort,nostalgiaisthe"Stimmung"oftheotherradical.Freeactionofromanticsubjectivitymustthenbeanegativeaction,thatis,thedeathoffinitudeandinfinitudepromiseofanungraspable. Landscapes throughout Europe ravaged by industrial extraction are crossed and subject of recovery projects through art. Large bunkers submarines World War II are being drilled and open to an audience that includes those vast spaces where light going through diverse gaps and water cause different feelings. People are trying to get back the old phosphate mines of Nahal Zin in Israel, maritime quarries of Marés in Menorca, and Dionyssos’ ones in Greece, and Santa Lucia in Caserta, Italy. There are several tourist routes established linking different projects of industrial reuse across the European landscape. Thus, the European landscape has evolved to become a clear vehicle of postmodern expression. It can no longer be defined from a single perspective, or from outdated approaches. In 1998, UNESCO included the TheVölklingenIronworks(VölklingerHütte) of Germany, in the list of UNESCO World Heritage (Figure 6). The cultural organisation does not propose any restoration or reuse project, but finances its conservation in a state of ruin, empty of content, huge and silent. Perhaps slower and less known way, this other group of performances that put aside leisure, consumption and tourism, and try to extract its full potential to ruin and the loss of meaning of some buildings that are no longer architecture and have therefore become a piece of art, they are definitely the projects which make another life for them. A look at the past from a present that thinks about the future.

XIII

There is hardly enough room for planned interventions and the least polluted areas remain intact. There is a distribution of the recreational areas within the tall ovens, with viewing platforms, walkways and other recreational spaces that are connected through a green path that recovers the railroad tracks with walkways and footbridges for pedestrian. The walls of the vessels become climbing walls. The old sewer and refrigerators buckets are transformed into a water park with an ecological system of water supply from rain. The remains of metallic material are reused as pavement work, creating the great Metallic Piazza where children play or several representations are made. The wind turbine and the water tanks are integrated into the ancient sites, creating a large recreational space in which, among other activities, one can even practice diving. "This resurgent ability of man to create a second nature in the form of art and culture that link with the world will be what allows the machine redeem making a symbol of the creative and transforming human condition itself. The old hollow shells of old outdated industries now stand as totems in the middle of the new common jungle of public space. These huge skeletons linked to the man with the rest of the planet, and remind you that you must share the world with their own creative and destructive urges. Where once throbbed shredders timing mechanisms, now gravitates space of cultural and civilizing potential of man. Redeemed from hell, extension of parks and gardens no longer speak over the death of the original factory, but life remains among the ruins. " (Quim Rosell, op. cit., pg. 136-137).

Figure 6

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Among the melancholiest vision which cries for a frustrated past and the most objective, looking curiously forms and landscapes, this interpretation of industrial heritage as a ruin in the landscape can reveal a hidden nature in that great set of remains, erasing its previous function and discovering new possibilities. Thus, it is postmodern ordering memory, sometimes wistfully, true, but without play step by step the past in an attempt to return to the present. Man has the chance to think, to confront himself, to imagine, to dream their future through incomplete strokes that left their past. In the middle of an increasingly globalised world, where the past literally comes alive as identity, this "non-functional" industrial remains fills the gap between the past and the future through imagination.

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After all these changes in sensitivity to the place we are today more than ever inpatients of the irreversibility of Architecture. Even if the architecture is destroyed it is not possible to annihilate the memory left on the ground where it stood. All demolition can only mostly destroy its physical presence and appearance but not its permanent imprint on the place left printed. The Architecture helps to the place be transformed and that this footprint will be enduring. The power of the place or the site is present in the work of the architects of half of the World, notwithstanding in a vague way. The result of new hundreds of thousands of proposals of technologies express their indefiniteness on the context in resource blur and twilight mists. Millions of photomontages are symptomatic of that nostalgia relationship with architecture occupied by physical space. Every era builds its idea of place. The contemporary place tries to include a certain terminology itself for its redefinition: the thermodynamic terminology aims to overcome all the ornament of sustainability used in the last decade of the last century. Nowadays one seems aware that the work of Architecture in each place involves the creation of a climate. As if each site would recognised the right to breathe a specific air rather than clean air. Today, one looks at energy consumption and waste, also the architecture but still not produced the place and the context when handling. One will soon have to imagine how to recycle the context and its waste. On the other hand, the place and the project is far from maintaining that relationship purely deductive as imagined in the late twentieth century through diagrams and sophisticated graphic processes. Nowadays a place, a site, is a raw material awaiting the effects of architecture, but also, conversely, the architecture is a fragile material that will be tested when naturally interact in context. For more than mere architectural project it is necessary to project the place itself.

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