Timeline of Architecture Autonomy
The aim of this project is to create a comprehensive mapping of an architectural ideology between 1968-1984. This period is not scholarly categorized in architecture history because all of the ideologies are mainly conceptual and unrealistic; instead it is considered an “unofficial,” so called, period of “Experimental Architecture: Autonomous Architecture.” The main objective of this self-referential architectural ideal is to create a uniformity of architectural experience using an “effect” of space and meaning rather than a physical notion of a building. Group of architects, led by Peter Eisenman, John Hejduk, Bernard Tschumi, Aldo Rossi and Robert Venturi, are discussed as figures that led to this major development in architectural theory.
Based on K. Michael Hays’s propositions, the mapping is engaged in a critical understanding of architecture as “cultural” and “philosophical” artifacts. By using time as a medium to represent the history of the ideology, five significant architects are mapped in the timeline in conjunction with “matters” that influenced their thoughts: philosophical writing (including theoretical essence of linguistic, semiotic and psychoanalysis models), architectural theories, buildings, architectural trends, and political and economical events. The product of the project demonstrates not only connections between architecture and the real world through events and intellectual dialogue, but also a vivid lineage of the architects’ quest for an architectural discipline
Follow the link:
The presence of Mies van de Rohe's Architecture
The presence of Mies van de Rohe's Architecture
There are multiple ways we can perceive architecture. It can be a building, a cultural artifact, or a product of civilization. Mies van de Rohe’s architecture transcends all of these classifications by emitting a transcendence which I believe can be captured by the photographic image. It is altogether fitting that the use of the digital camera can catch the elusive and evoke the history of the architecture of Modernity. For example, the framing of "parts" of the building and the surrounding brings the status of the Modernity to its summit: an energetic reflection of the tree on the glass wall conforms to the purity of the Modern ideology that allows the stability of the building to manifest itself in the transparency of its context. The simplicity horizontal and vertical frames of Crown Hall --like they were attached to each other with magic glue-- contracts the tectonic interpretation of architecture to the reflection of natural sky. The abstraction of lines denotes a Neo-Plasticist spirit in such a way that it takes us further away from realizing that this is "reality." For better or worst, the work of Mies should retain its presence in the absence of textual interpretation. It is at its best when one perceive the integrity of spatial organization by the subsequent will to look at it in a different light. The presence of Mies is not the presence of his building nor his architecture, but the work --conceptually-- of architecture he creates and what we --mankind-- perceive in an artistic sphere of timelessness.
Effect of Light, Scale, Architecture
Eisenman House VI
My gratitude to Professor Stanford Anderson for an opportunity to visit Peter Eisenman's House VI. I was disappointed by the smallness and boringness of the exterior of the house at first sight, but then when experienced the quality of light inside the house; I was intrigued by the harmony of everything: light, space, furniture, color, partitions and so on. I think what I always believe, an unlivability of the neo-avant-garde idelogical architecture, is not always right. The house is beautiful and the owners love it. I am very impressed!!
Rem Koolhaas MacComick Student Center
"On the contrary...I would propose that there are a lot to be said. Starting from
your subconscious choise to select a detail from Mies' building and a more out
of zoom pic from Rem's. What about the use of architectural detail? In my
opinion Rem totally vandalizes Mies. The connection between the two could be
established on the base of their phenomenal resemblance. Once you move closer
though, a vast gap appears...I find interesting this discussion, but you should
have something to say for beginning...What fascinates you between the two? Is
Rem really "critical" or is he a fine reproducer of frauds? It could be a great
discussion!!!"
Response to my message by Olga Touloumi, my intellectual friend in History and Theory program at MIT and a prospective Ph.D. student at Harvard.Olga brings some light to my thought about what is the actual meaning of "Modernist." On one hand, we see Mies as a Modernist because the timelessness quality in his design, on the other, we see Rem in the same role as he always inventing the meaning of "Modern" through innovative design approach. This may sound naive as a speech given by a theory student, but I think, this is one substantial though that should not be hidden by the rhetoric of beautiful works and so on.
The Presence of Mies
My visit to Chicago in March was amazing.Thanks to Professor Duke Rittironk for taking me around the city, without your support, I would not be able to take this wonderful pictures.
Wondering
Walter Gropius' House in Lincoln, Massachusetts
NON@LIBRARY
Animation Version of Non
