A POCKET BOOK OF COLLECTED ESSAYS

OYUNGA - GONCHAROV - HAYES - KO - MONTEIRO - PAUL

TABLE OF CONTENTS

AUTHENTIC
ARCHITECTURE . AN INTRODUCTION 4

AN EXPLORATION INTO THE WORK AND

TEACHINGS OF ADOLF LOOS 7

PERCEPTION OF FORM, LINE AND

COLOUR IN ARCHITECTURE
CONSTRUCTIVISM 15

WHAT CAN WE LEARN FROM KAHNS

MONUMENTALITY? 26

ROBERT VENTURI: COMPLEXITY AND

CONTRADICTION IN ARCHITECTURE 35

PARAMETRICISM AS STYLE
PARAMETRICIST MANIFESTO 43

THE ATLAS OF NOVEL TECTONICS 60

For our families and friends

For Catalina
 AUTHENTIC
ARCHITECTURE
AN INTRODUCTION

Authenticity, as an architectural concept, can hold many meanings and ap-

plications. The idea of a building of authentic style is one that follows the rules of
a specific genre or architectural movement, for an architect to have an authentic
vision or idea he must spawn his idea from strong values and original thoughts, for
an architectural movement to be considered authentic it must be become recog-
nized as a observable change from previous design and follow a form of relatively
specific architectural principles. It is clear that the concept of authenticity can be
applied in many different ways to many different areas of architecture to form dif-
ferent principles of what is Authenticity.
As the Architects chosen to be the essay subjects are considered revolu-
tionary and influential to the world of architecture, it is thought that most of their
thoughts and designs are authentic to their name. An Exploration into the Works
and teachings of Adolf Loos by Noelle Oyunga is a response to the architects often
4
misrepresented essay Ornament and Crime. In this essay Noelle explores
the original, authentic thoughts behind Adolfs theories and analyses his
most influential developments in his time. In his work, loos talks about the
authentic nature of cladding using pure and original materials and the impor-
tance of restraining to use mimicking materials to describe a certain texture
thats not suited to it, we feel this is a key point in creating a building of an
authentic nature. The Essay entitled What can we Learn from Kahns Mon-
umentality by Harry Hayes, explores the authenticity of the values present-
ed by Louis Kahns theories of Monumentality in architecture and the nature
of the buildings built in Kahns Post-war era. In his essay he goes into depth
on Kahns development throughout his life on the progression of monumen-
tality and the way in which Kahn captures this in his work. Much in contrast
the essay by Mario Alcantara Monteiro entitled Parametricism as style
parametricst manifesto, challenges the Authenticity of Patrik Schumachers
parametric movement. Mario explores recent developments in parametrical
design and finds a number of problems with what is considered this new
style. He finds that the style has no real roots in architectural history, which
is considered to be the norm of architectural progress, leading to questions
about whether this style is authentic or not. We feel that as a concept, the
principle of authenticity is a clear tie between all six of our chosen essay sub-
jects and the direction in which we have criticized and explored their works.
In Her essay, Zoe Donghee Ko writes in response to the writing of Robert
Venturi. She brings his work parallel to the work of Le Corbusier to hold a
discussion about their views of modernism; this is how she creates a stage
5
 on which two authentic, original opinions collide. Kristina Goncharovs explores a
different area of architecture in her essay, looking into the ideals of the construc-
tivism movement based in the Soviet Union. She looks at what this means in terms
of style and what can be classed as authentic constructivist design while looking
into the work of Ginsburg. It is shown throughout the group that many areas of
architecture have been covered in this collection of essays, with a range of styles
covered over the last 200 years.
When looking into the prospect of authenticity as a group we discovered
what we considered a fault in modern architectural practice concerning authentic
work. We felt that at one point buildings were materialized purely from drawings,
built straight from the lines that were drawn by the architect, but now it seems
that the design is put through numerous programs and renderings and systems
and each one seems to change the design, pulling it further way from its authentic
construct. We also feel that the materials used today have strayed further away
from the authentic nature of pure solid building materials used in the past. Con-
structions built using parametric design, for example, have to be laser clad using
different powders and polymers. To us this doesnt feel like an authentic method
or material and doesnt match up to the feel or look of using pure materials such
as marble or stone on a construction, this is very similar to the values discussed in
Looss considerations of ornament. This collection of essays based on very different
architects and written in each writers individual style, the writers feel it is a clear
representation of their thoughts and analysis of their chose architects writings,
with a clear representation of the theme of authenticity.

6
 AN EXPLORATION INTO THE WORK AND
TEACHINGS OF ADOLF LOOS

ADOLF LOOS: THE MAN

The basis of Loos blazing opinion in his text, Ornament and Crime comes
from his criticism on the use of decoration in Viennese architecture at the turn of
1. Katie Nicole Moss. (2010). the 20th century when the Art Nouveau movement was in full swing. The time he
Constructing a Modern Vienna:
The Architecture and Cultural
spent in America is credited to have developed his tendency to appreciate the so-
Criticism of Adolf Loos. Masters. briety of architecture that stands alone; without distracting ornamentation.1 The
University of Oregon.

7
 text is not only a commentary about architecture but touches on cultural practices
of the Viennese citizens. In this essay, an attempt to contextualise Loos and Or-
nament and Crime is made. This is in a bid to explore his ideas beyond the front
presented to Vienna at the time of publication and as such explore his ideals which,
2. Benedetto Gravagnuolo and
subsequently, have remained relevant and have demanded respect from the likes Adolf Loos (1995). Adolf Loos,
of Le Corbusier.2 This essay explores Loos ideals and his contribution to Modern theory and works. London: Art
Data: 31
Architecture as is experienced in todays world.
Reactions vary from one person to the next upon a first encounter with
Adolf Loos Ornament and Crime. The text belays a cantankerous spirit with little
regard for present day political correctness, quite possibly leaving the new-comer
in the very least surprised, the critic staggering to punch out more paragraphs and
must surely leave Loosians challenged to justify such comments as The modern
man who tattoos himself is a criminal or a degenerate unlike, say, the Papuan, for 3. Adolf Loos, Ludwig Mnz
whom it is in his nature to do, as he is described by Loos to be a savage.3 The text and Gustav Knstler. (1966)
Ornament and Crime. Pioneer of
is as offensive to a vast majority as it is dismissive and requires more analysis than modern architecture. London:
the passing reader is likely to give. However, for those that tarry to explore the Thames & Hudson: 226
architects work, one is met with a startlingly sharp mind and a well-trained design-
ers eye. For Loos, his designs are not just buildings that are commissioned but are
often alluded to display the workings of his own mind. About the marble Loos often
incorporated into his interiors, Hedjuk writes, it was a room filled with marble
walls, pilasters and columns. The overall effect on me was that [] I had entered
into the inner thoughts of Loos. The veins within the marble were like a multitude
of lightening flashes in a dark sky [] I thought to myself that I was witnessing the
synapses of an architects brain [] which revealed the workings of a tumultuous
8
4. Leslie Van Duzer, Kent Klein- imagination.4 To further understand the architect, one needs to consider his life
man and John Hejduk. (1994).
Villa Mller, Prague. New York: history, as it seems a rare occurrence that one is independent of the other.
Princeton Architectural Press: 14 Adolf Loos was born in 1870 in present day Czech Republic. His father was
a stonemason and died when he the boy was nine. It is suggested that as Loos
escaped to the military as soon as he could following a strained relationship with
his strict mother. Later, his mother would disown him on account of the syphilis he
5. Benedetto Gravagnuolo and
Adolf Loos (1995). Adolf Loos,
had contracted whilst in the army.5 She sent him on a trip to America from where
theory and works. London: Art it is believed that the young man acquires his style and preferences for efficient and
Data: 31
controlled expression of form.

ORNAMENT AND CRIME

This essay was originally written with satirical intent but has often been
received in its plain form. As a result, Loos drew criticism and while he drew admi-
ration from people who shared his sentiment, he also put off a number of people.
Through the lens of early 20th century Vienna, his humour and sarcasm
are not lost to the reader. However, as the essay continued to grow in popularity,
the vast majority failed to identify his light-hearted predisposition. Ornament and
Crime soon came to interpreted to mean that ornament IS crime much to the
displeasure of the architect. The essay was later published in Le Corbusiers LEsprit
Nouveau.
In the essay, Loos criticises the use of excessive yet needless ornamentation
that had become the fad in Vienna. Instead, he called for evolution, saying that
9
 sober architectural choices were a sign of the evolution of the modern man. The
people of Vienna had taken to imitating material so that brick was imitated with
wallpaper, a practice that Loos altogether condemned to the highest order. Fur-
thermore, the Art Nouveau movement had enchanted the city and everyone was
looking for their own bespoke piece to show off. For this, Loos offered an argument
in two parts. In one, he questioned the value of a masterfully carved cigarette case
versus his own that was but a box with no special attention paid to decorating it.
For the former, he argued that such was an illustration of wasted money and hence
wasted wealth where something as inconsequential as a cigarette case should 6. Ludwig Mnz and Gustav Kn-
stler. (1966). Pioneer of modern
receive the hours spent by the artisan who carved it.6 It made more sense to have architecture. London: Thames &
one like his, so that its purpose, to carry cigarettes, is not lost on its owner. This Hudson.
way, it functions at nearly 100% efficiency.
The second part of his argument involved a story, The Poor Little Rich
7. Ludwig Mnz and Gustav Kn-
Man. In the story, a rich man is convinced to retain the services of a designer to
7
stler. (1966). Pioneer of modern
deck out his house. The designer overwhelms the mans house with all sorts of architecture. London: Thames &
Hudson: 223
priceless art pieces and fabrics, so much so that it eventually becomes uninhab-
itable. Loos used the story to illustrate how too much, even for those who can
afford the finer things in life, can have a crippling effect on its inhabitants.
Notably, Loos also demonstrates a respect for history. At the same time,
however, he notes that there is an ever so important need to remain current and
evolve accordingly. Failure to do so is the true crime as one becomes stuck and
does not develop a true style of the time. He said this, in particular, as a pioneer
of modern architecture and used this justification to suggest that the Art Nouveau
and the Beaux-Arts were to be left behind and that the style of the time was in fact,
10
8. Mnz, L. and Knstler, G. the precision and elegant simplicity of the new style he spear-headed.8
(1966). Pioneer of modern
architecture. London: Thames & Loos ideas as expressed in Ornament and Crime as well as other writings
Hudson: 228 of his have resulted in an architectural language that is breathed into the many
corners of the buildings he designed. One such structure is the Villa Mller, a house
that Loos was contracted to do for a long-time colleague Frantisek Mller and his
wife Milada.

VILLA MLLER
Despite being considered to be Loos best representative work, Villa Mller
9. Leslie Van Duzer, Kent Klein-
has long been an object of almost mythical presence as it remained inaccessible
man and John Hejduk. (1994). to the general public for almost twenty years.9 The limited interaction with the in-
Villa Mller, Prague. New York:
Princeton Architectural Press: 16
terior of the building resulted in little scholarship into the architects most notable
work and quite possibly, the clearest illustration of Loosian semantics. Fig 1, an im-
age of a model of the house alongside a cast of its negative space speaks volumes
with regards to the architects understanding. Where the exterior is represented
in clean-cut white lines, a mold of the interior with use of material that exhibits a
shine and hence suggests a richer selection of material for the interior captures the
narrative of the iconic home.
Built on a steep slope facing a castle in Prague, Villa Mller was constructed
late in Loos life. By the time of its completion, he was on his deathbed and only
just made it to the opening where he received the title of master of Ar-
chitecture on his sixtieth birthday. Frantisek Mller owned a rather established
11
Fig 1: Model of the Villa
Mller (left) and a casting
of the models negative
space (right) by Erwin
Wurm
 engineering firm that had previously often worked with Loos so the two men had
become friends. The house was commissioned for build in 1928 and completed in
1930. Despite the toll his sickness had, Mller insisted that Loos continue to be a
voice in the houses design. He remained an artistic advisor and supervisor and
10. Benedetto Gravagnuolo and
Adolf Loos (1995). Adolf Loos, depended upon the help of his then associate Kharel Lhota.10
theory and works. London: Art Villa Mller presents a challenge for those who encounter Loos with the tra-
Data: 201
ditional modern eye for the simple reason that in stark contrast to a whitewashed
exterior that is punctuated only by windows, the interior of the house is lush with
exquisite furnishings such as light lemon wood, mahogany, opaxit tile, cipolin and
11. Leslie Van Duzer, Kent Klein-
man and John Hejduk. (1994). so on.11 Where little regard seems to be paid to the exterior with all but straight
Villa Mller, Prague. New York: lines and planar qualities to the outer walls the interior space is rife with different
Princeton Architectural Press: 54
heights and levels to every room; none looking like the other, every one placed
intentionally. Each one of the interior materials is fastidiously chosen to perform
a required function, aesthetic qualities aside. For instance, a gender play is estab-
lished between the deep dark mahogany used for the mans study and the lighter
12. Leslie Van Duzer, Kent Klein-
man and John Hejduk. (1994). lemonwood employed to furnish the ladys boudoir.12
Villa Mller, Prague. New York: That one would struggle with reconciling the fact that not only is the house
Princeton Architectural Press: 53
ornamented, but also is done so with seemingly little regard for economy is not
a tall order. The modern minimalism that Loos advocates for banishes decoration,
yet here he seems to forgo his arguments and indulge in the wiles of the rich and
well to do of society.
Villa Mller is a representation of a house with a specific function; to serve
the Mller family. Loos artistic aptitude made sure that this was fully realised in all
respects. It was not enough that Frantisek should have a study but a place he could
13
 retreat and similarly, Milada, the woman of the house, could see who came went
from her strategically placed boudoir; a vantage point that only she had from her
space. Moving though the house seems like moving through a space waiting for
a piece of domestic drama to be enacted, as described by Beatriz Colomina who
pointedly notes that the house is designed for the family to be able to look out- 13. Beatriz Colomina. (1994).
side and bars the wandering passer-by from seeing inside.13 There is such an over- Privacy and publicity. Cambridge,
Mass.: MIT Press: 250
whelming measure of discipline to every decision made in the houses design. For
Loos, the important thing to do is to do it well without any deception. He seems to
say that If you want to frame a door, then by all means do so. But do not imitate.
Do not lie. If you employ marble, it is not enough to represent it. It must stand for
itself. It must be explicit. Duzer, Kleinman and Hejduk attest to one such space that
is the Villa Mller where the walls have no interiors. Their thickness is unknow- 14. Leslie Van Duzer, Kent Klein-
able.14 Loos remains a master. He continues to dazzle even from the beyond the man and John Hejduk. (1994).
Villa Mller, Prague. New York:
grave. Princeton Architectural Press: 17
To conclude, Ornament and Crime offers an interesting perspective into
the mind of Adolf Loos as seen in the workings of Villa Mller. It continues to start
conversations and remain relevant and as such, retains its iconic symbol through
the years.

14
 PERCEPTION OF FORM, LINE AND
COLOUR IN ARCHITECTURE -
CONSTRUCTIVISM

1. GINZBURG, M (1924) Style and

Modern psycho-physiology has established that various elements of form
Epoch, p.96 (line, surface, volume), both in themselves and particularly in various juxtaposi-
tions, engender emotions of satisfaction or dissatisfaction within us, as do certain
colors and sounds.1

Moisei Ginzburg was an ideologist of Constructivism in the Soviet Union

during the 1920s and early 30s. Style and Epoch was written in 1924 shortly be-
fore Ginzburg founded the Organisation of Contemporary Architects (OSA) Group,
which is considered to be the first of its kind. The main ideals undertaken by the
15
 OSA Group were the combination of breakthrough engineering and a strong com-
munal understanding, plus the priority of function and form. Such ideals were en-
couraged by the education that certain members of the group had received by
attending Vhkutemas (a Soviet avant-garde higher education studio for art and
technology). Here an interest of the Gestalt theory, which I will explain further
on, was largely adopted amongst students and professors alike. Around the same
time the Gestalt theory had also begun to flourish in Berlin. The groups work was 2. http://thecharnelhouse.
close to Germanys functionalism movement, and focused mainly on communal org/2014/01/12/moi-
sei-ginzburg-competition-en-
housing schemes; one of the most famous being Ginzburgs Narkomfin building try-for-the-palace-of-the-sovi-
as shown in figure 1. The Narkomfin building was erected during the 5-year plan ets-1931/
(1928-32) that saw to the industrialisation of the country with the creation of many
new towns and the erection of new experimental architecture.
The constructivist era came to a halt around 1932, mainly due to the suc-
cess of architect Boris Iofan, with his proposal for the Palace of the Soviets. His new
style, later known as Stalinist architecture proved more favourable than the cur-
rent Constructivist movement. It was in this competition that Ginzburg presented
one of his last major projects (figure 2). He attempted to represent the absence of 3. GINZBURG, M. (1926).
solitude within the peoples, by creating an organic, open dome, submitting one of
,
the most futuristic projects of his career. A, 4. p.89-92
The main reason that has lead
the modern architect to break
, off traditional architectural ways
and canons, and replace them
with functionalism can be seen
, in how our lives are fundamen-
3 tally changing

16
Fig. 1: Narkomfin
building, Moscow
Fig. 2:
Ginzburgs proposal,
Palace for the Soviets
 FORM. The ideals of constructivism in soviet architecture were undertaken as a
result of the expanding art movement stemming directly from cubism and Soviet
futurism. After the revolution in 1917, all focus was on social demands that had
begun to arise. A new life had begun for the people and architects were drawn
to the challenges of the new age, readily leaving behind old traditions, Ginzburg
summarises above. It was a style that encouraged technological breakthroughs and
a new outlook on line and form. Functionalism, enhancement of geometric forms
and the exposition of the bare engineering of structures were among the main fo-
cuses of this new perspective.4
4. http://www.zdanija.ru/
TermsK7/p2_articleid/1715 The article mentioned above, The functional method and form, is a clear
insight into Moisei Ginzburgs ideology around constructivism. It was understood
by Ginzburg that the buildings constructed with this new vision of constructivism
may not appear appealing to the general eye, and much criticism was given how the
buildings lacked any form of decoration or beauty. But it was this point that gave
the buildings their charm he argued. Under the theories projected by constructiv-
ism, the buildings were in no need for a decorative faade; the architecture came
about naturally as a direct understanding of the functionality of the new materials
and household changes that were blooming. For Ginzburg it was important that in
this new era materials were to be looked at differently. A material had to be used to
its full potential, satisfying all its natural possibilities. Taking into account not only
its strength and durability, but also its colour, texture and processing methods was
a must. Each material used needed a functional justification to be able to rightly
label the architecture as contemporary of the time.
That is why the machine with the most actively functioning parts, with an
19
 absolute lack of non-working organs, quite naturally leads to an utter disregard 5. GINZBURG, M (1924) Style and
of decorative elements, for which there is no more room, leads precisely to the Epoch, p.101

idea of Constructivism, so prevalent in our time, which must by its very being ab-
sorb the decorative, its antithesis.5
Ginzburg identifies that new architecture should be a psychologically calm
environment. As mentioned earlier, the main theory around constructivism was
that a form or structure must not only fulfil is fundamental purpose, but also do so
in the most effective way utilising all its potential. This theory was brought through
every detail of the buildings proposed and constructed. Something simple that may
have once been used purely for decorative purposes, i.e. paint, was now a more
complex idea. The colour of the paint suggested in certain areas of the building was
based on the concepts of keeping a good psycho-hygiene as certain colours may
arouse specific emotions. I will expand on these interpretations further on.
In a vast majority of instances the true meaning of architecture is discerned
primarily in its constructive aspects; the fundamental problem of architecture
6. GINZBURG, M (1924) Style and
delimiting the boundaries of space with material formsrequires the creation of Epoch, p. 96
elements that function constructively.6

LINE. Throughout the text of Style and Epoch, it is possible to see that Ginzburg
was also interested in the psychological theories arising in Germany at the time.
One of the main ideologies brought to light by German psychologists was the Ge-
stalt theory.
The principle of the Gestalt theory, meaning unified whole, shows that it
is not always adequate enough to focus on the individual object in question. To
20
7. http://en.wikipedia.org/wiki/
Gestalt_psychology
understand the true essence of the object or, structure in this case, the observer
is obliged to appreciate its context too.7 One of the simplest ways to present the
ideology of the Gestalt theory is through the images below (Figures 3+4).
Fig. 3 is a picture with certain objects scrambled within. It is not a simple
task to comprehend how these objects may be related and in which general situa-
tion they came from, as there is a lack of context. Looking at figure 4, it is evident
that this is actually a drawing of a classroom. This image is simpler to understand,
as there is a given context, and the image may be perceived as a whole, rather
than random objects scattered on the page. There are many other examples that
are highlighted in our daily lives, for instance, text or film. Singular letters have no
meaning, but when placed together they create words; which are fundamental to
human communication. It is also possible to draw a parallel with films in this case.
The individual stills of a film may have little meaning or a
completely different meaning when compared to the context of the film; only once
they are played together in a roll that the overall film becomes apparent. Although
the Gestalt theory has now been critiqued with accusations of subjective research,
the theory does give rational explanations to its basis as can be concluded from the
examples above.
21
Fig. 3: A room seen as a whole Fig. 4: A room spit to its part
 In the text, Ginzburg references Wilhelm Wundts findings; after which the
principle of the Gestalt theory was created. Wundt determined that one might
experience pleasure if he is to observe a line or form that is simple for the eye to
follow, i.e. when the muscles around the eyes encounter minimal movement. By
adopting this theory, it is understood that the use of irregular lines and forms may
create discomfort for the viewer.
But it is not only down to the movement of our eyes how one may perceive
form. As I have shown earlier, Ginzburg highlights the importance of an individuals
own intuition when trying to understand form and what is pleasing to the eye. This
can be related to a form of instinct in ones self. For example, if a structure were to
be placed in front of a group of people, that was (to the eye) evidently too tall and
too thin for the load it is bearing, there would be a general sensation of discomfort
regardless of the mechanics of the structure.
8. GINZBURG, M. (1929).
, ,
A, 2. p.74-77
The meaning of colour in this , -
context is not as a given object, , -
nor about colour which has cer-
tain qualities of psycho-physical .8
effects but colour in its function-
al form in a particular architectur-
al environment.

23
 COLOUR. Colour in the eyes of Ginzburg via the philosophy of constructivism was
a purely functional aspect of architecture, contrary to traditional understanding of
it as a decorative measure. Colour could have two different forms of functionality;
the fundamental contrasting state so as to be able to differentiate easily between
forms (such as the buttons on a remote), and a more complex comprehension of
colour in relation to ones psycho-physiology (their emotional reaction to certain
colours). Around the same time this perception of the use of colour, in its funda-
mental state, was also being exploited in Germanys flourishing Bauhaus. Ginzburg
draws an example in Colour in Architecture of where each level in the stairwell
of the Bauhaus, i.e. the ceiling, walls and landing, are painted a different colour.
This has been done not as a decorative statement, but to allow for easy distinction
and memorisation of different floors for the observer. Intrigued by these elements,
Ginzburg suggested to take this ideology out of a small scale surrounding, and place
it in something larger, for example a hotel or communal home with large corridors.
By giving each door a unique colour it would be possible, if one were caught in the 9. GINZBURG, M. (1929).
,
dark and not able to see the door number, to rely on the colour of the door as well, A, 2. p.74-77
which could substantially ease the occupiers mind. Thus, the conditions of correc-
tion become so intricate, that
not only should the absence of
, , the light source be taken into
account, but also the various
, conditions of its position in
, , space, as a matter of fact, it is
often possible that a solution in
, , .9 one situation can be a complica-
tion in another situation.

24
 In the text Colour in Architecture, Ginzburg discusses the importance of
how a form is lit when dealing with colour. Natural light has a tendency to flood
the form with light, making its three-dimensionality clearly visible; where there is
a lack of natural light a form must be enhanced through the utilisation of colour.
But as Ginzburg mentions in the quote above, this can also be a destructive quality.
For example, if the sun is shining mostly on one side of a form, the other may be
coloured to enhance the volume of the object; but what if the sun is to start shin-
ing on another side completely one day, surely one is not expected to repaint the
sides? Therefore, Ginzburg advised this to be used in enclosed spaces where the
direction of light is constant to ensure the total functionality of the paint.
Moisei Ginzburgs postulates around constructivism affected the perception of
many architects. Although the constructivism movement in Soviet Russia only last-
ed a brief amount of time, Ginzburg is considered to be one of the most accom-
plished masters of Soviet constructivism and his ideologies are still respected and
studied today.

25
 WHAT CAN WE LEARN FROM KAHNS
MONUMENTALITY?
Kahns life long obsession was the creation of something immeasurable and
immaterial into a measurable and material form, it didnt matter what his structure
was, he would challenge himself with defining the unique qualities embodied in
that institution. This drive and passion he had for his work and his attention to
meticulous detail set him apart from the architects of his time, pulling him into the
architectural cannon. His main body of work comes from his team of designers and
architects that worked with him under his own name, together they designed using
uncompromising materials such as concrete, brick and marble and combined them
with technical innovations in ways that had never been seen before. Considering
this, Kahns repertoire of physical work is surprisingly thin. This may be because
of the demanding nature of his work or that most of his plans were never realised
in physical form, but it can be seen that most of his efforts went on teaching and
writing on the subject of architecture. Throughout his life he lectured regularly at
26
 multiple American universities and worked as the professor of architecture at both
Yale and the University of Pennsylvania until his death in 1974. Kahn viewed teach-
1. Louis I. Kahn, quoted in Wilder
Green, Louis I. Kahn, Architect: ing as a form of inspiration, he found that being challenged with new ideas lead
Alfred Newton Richards Medical him into new designs; he states that A good question is always greater than the
Research Building, Museum of
Modern Art Bulletin 28 (1961). most brilliant answer.1 Kahns writing although informative does not have the in-
tention of convincing the reader of his point of view, instead he picks apart his own
ideas with a fragmented structure and allows the reader to see his mind at work.
Monumentality, is Kahns exploration into both his considerations of the concept
2. Monumentality by Louis of architectural monuments and of the pathway that will be carved for architecture
Kahn, in Paul Zucker, ed., New in his near future. In amongst the excitement of his findings, Kahn gets to grip with
Architecture and City Planning
(New York: Philosophical Library, the abstruse feeling of monumentality that cannot be intentionally created2 , and
1944) it is clear that he is trying to question the ideas built in the minds of the readers,
much like his students would have to his.
For the most part, his paper is based around future scientific development
of architectural mechanics, showing Kahns enthusiasm for new movement and
direction in his field. His explorations into the buildings of the Greeks and the Ro-
mans show his considerations of the roots of modern architecture and yet how
these would have been furthered if the technology we had in his time was available
to them. Kahn, throughout his working life, took a lot of inspiration from ancient
3. Beauvais Cathedral, built in
design such as Greek temples and the pyramids, so it is expected that his ideas
1225, one of the most ambitious would leap back and fourth through architectural history in such a way. There is
gothic projects attempted but
collapsed in 1573 due to its in-
a hint of regret from his ideas of integrating Gothic architecture with the science
stability. of his time, stating, Beauvais cathedral needed the steel we have3 . Surely, this
would not have changed the monumental image this cathedral has and may have
27
 lessened its cause, as the failure of the building would have furthered it as a struc-
4. Monumentality by Louis
tural icon. This leads me to question his idea that neither the finest material nor Kahn, in Paul Zucker, ed., New
the most advanced technology need enter a work of monumental character.4 But Architecture and City Planning
(New York: Philosophical Library,
this is beside the point, Kahn is looking at how the progression of architecture could 1944)
have changed if different technologies had been discovered at different times, thus
showing that new architectural design is shaped by the scientific discoveries of the
age. So it is clear to see why Kahn is so excited about future development because
it is this that will shape the architectural dynamic in his lifetime and influence his
work. The rest of the text is based around Kahns idea of monumentality. My under-
standing, after reading Kahns text, Is that monumentality concerns itself with the
projection of meaning towards society, it worries not about size or even purpose of
the building in the ways of image but instead of the creation of emotion surround-
ing the buildings use. Its not about the ego or the image of the brand or architect
it is about what the building gives to the public. A monument or memorial is a pure
example, it is a structure made purely for the projection of emotion to the public, it
is not made to promote a designer or for profit, it is created with a single purpose,
to stand for a single cause. Recently in 2012 Kahns plans for his Four Freedoms
Park were created some 40 years after his proposal; it was built as a memorial to
Franklin. D. Roosevelt but is considered a testament to the work of Kahn and his
work (fig1). This park was Kahns last piece of work before his death; it instils a
sense of calmness and contemplation using very simple shapes and few but bold
materials, it seems even through living busy complicated life he develops buildings
with such thought and serenity.

28
Fig 1: Kahns sketch of
Four Freedoms Park,
40 years
before its creation.
 Kahn lived and worked in a post-war community. The architectural cannon
considered the work of Post-war architecture to be an all-time low for the profes-
sion. New developments in mass town planning in areas of devastation gave birth
to giant, lifeless structures and exhausted modernism and functionalism until it was
5. Predecessor of Mies van de
considered dead. These structures replaced the former quiet streets of terraced Rhoe and part founder of the
houses with disregard to the location, this and the functionalist design with mass Bauhaus movement in 1919,
began working in furniture but
use of hard concrete and sharp edges rendered most of them to be considered later founded the college of Sta-
ugly (fig 2). In early Post-war times architects such as Walter Gropius5 pioneered atliches Bauhaus Weimar that
worked from the Bauhaus ideals.
the Bauhaus movement6, which became the head of the architectural regime of
the time during Kahns younger working life. They, much like Kahn, were against the 6. Movement in the early 20th
century that aimed to combine
social construct of the time and challenged the utilitarian efforts of post war archi- and unite all craft fields in a phys-
tecture with meaning and inspirational ideas. This paper was Kahns way of opening ical approach

up the eyes of a post war society to see the possible architectural development of
the future so as to inject new inspiration into the bland functional construct of his
day. It is interesting that despite this, in Kahns text he accepts that these develop- 7. Monumentality by Louis
ments are interesting in their own right, he see the merit in the new progressions in Kahn, in Paul Zucker, ed., New
Architecture and City Planning
building In his time stating that they are no monsters to be afraid of7 , of course (New York: Philosophical Library,
there would have been no way of avoiding such development in a time when mass 1944)

housing was a necessity and scientific progress allowed this to happen quickly and
cheaply, but in Kahns ideal these developments are merely basic test from which
he can take from and develop into meaningful architecture. Kahn wrote this text in
a time when Monumentality was falling out of the architectural interest fast, it was
considered that modern buildings no longer contained the spirit of the time and re-
mained empty of meaning. As Kahns views of architecture culminated on the idea
30
that architecture should be spiritually inspiring, he would have been disheartened
with the architecture community becoming uninterested with his ideology. It then
stands that his writing was not only an exploration into monumentality, but also an
attempt to revive excitement for the cause by exploring the capabilities of modern
technology. This can be seen in Kahns Salk institute which is considered an icon
to the monumentality cause. Kahns intentions to create an intellectual retreat
was realised in endless amounts on concrete, a mass use of this material, new in
the architectural cannon. Kahn also intentionally used a Roman derived technique
to pour his concrete seemingly to instil an element of history into his building. The
building stands both as a monument to Salk (the inventor of the polio vaccine) and
as a working research centre. You will find no advertising here nor was there an
intention to create this building to promote Khans practice; it was purely designed
to give to society the awareness that would otherwise be forgotten.

31
Fig. 2: (right) Holiday inn, Formerly
the Bedford hotel, Brighton.
A classic example of ugly post-
war development, met with public
distaste.
8. Monumentality by Louis
Kahn, in Paul Zucker, ed., New this idea he writes that the monumental structures of the past can never be recre-
Architecture and City Planning
(New York: Philosophical Library,
1944)
Kahns statement of monumental structure is one of Pessimistic opinion, in
ated with the same intensity and meaning.8 It seems that he looks on these build-
ings as monuments of the era that they were created against and that they become
an icon or statement for the social construct of the time. He cites the Parthenon as
an example stating that it stands as the recognized architectural symbol of the
time also citing the knowledge of compression needed to develop the structure.
This building stands as the front of the architectural development of the time, as a
freeze frame of the finest building they could offer. It is also seen that the building
is in celebration of the gods, as religions praise, showing that in their social con-
struct, religion stands as a worthy cause. It is this cultural motivation that we lack
today in order to create such a building of monumentality, it doesnt matter that
we have the technology to create structures of unbelievable beauty and form they
will always lack the motive that the Greeks had in order to create the spectacle
of the Parthenon. In his writing Kahn sites the school or the community centre as
possibilities in which to expand the use of monumentality, using them to be mon-
uments to the social construction, In our social climate today we see the school as
a building of utility, to be used for a purpose with no thoughts towards any symbol
of monument to the cause, this then stands as a blank canvas on which to design a
form that uncompromisingly projects the importance of such buildings in our com-
munity. It is very common today to see new school developments as bland struc-
tures built cheaply with the primary aim to pack as many students in as the school
can take, what we need is inspirational designs not only to prove the importance of
these building to society but to make it seem like a worthy cause, not some basic
33
 structure to enclose students into a unforgiving working environment. I will site the
shard as a modern development that needed the idea of monumentality behind
it to make it a building of greater worth. The problem can be sited in the motive
behind the design. It is considered one of the most iconic and monumental build-
ings of London today, and yet from a wide perspective, the building lacks a specific
purpose. The building is now predominantly used for varying office space, and is
now merely an image to promote the city of London as a new interesting city.
There is no cause for the building to be there, no underlying meaning that gives
this building purpose and soon it will fall into the background as another building
erected for designs sake. This was not Kahns ideology and I expect he would have
been disappointed in the idea that such a beautiful structure was built with the
main advantage of being the tallest building in London.

If Kahns ideals of monumentality had been further reaching into the archi-
tectural field then I feel we would be living in a completely different architectural
environment. Instead of seeing building developments designed with the intention
of self-promotion, to show off new technology or just for utility with no thought to
design, I feel we would be seeing buildings designed to capture and enhance the
purpose of the building, to project the worthiness of the structure onto society so
that we feel trust that these buildings have substantial meaning in the world today.
It is no use just giving society the tools it needs to develop, if we dont project these
buildings as substantial cause with meaning then there will be no motivation.

34
ROBERT VENTURI: COMPLEXITY AND
CONTRADICTION IN ARCHITECTURE
This book is often considered a manifesto on architecture, of some sort.
It is sometimes compared and contrasted to Le Corbusiers Towards an (a new)
Architecture. However the two are quite different in meaning and context, and in
purpose.
The important thing that should be remembered is that this is Venturis own theory
of architecture, a personal view. And from the point of view of a practicing archi-
tect: in his words I write then as an architect who employs criticism rather than a
critic who chooses architecture. However, the book had far reaching influences
on the direction of, and change of direction of, architecture in the late 20th Century
- including importantly helping to provoke the post-modernist movement.

This book, and the other literary works by Venturi, have been the subject of count-
less essays, as well as a number of entire books that focus solely on examining
35
 the writings of Venturi. In particular, scholars have tried to understand the ideas,
meanings and influences behind the texts. This is perhaps what makes the books so
interesting - the ambiguity that it poses. Even in the titles that Venturi has chosen
for his books, ambiguity is almost implied by the choice of words.

It must be remembered, too, that although this book is in a sense and according to
Venturi himself a personal view, Venturi has an unusually good knowledge of archi-
tectural precedents, and past and current practicing architects, as well as the his-
tory of the development of architecture in general. This is clearly brought across in
all his writings, and so acts as also a fascinating source for an accurate if somewhat
personal and even biased view of recent and longer ago history of architecture and
of cities in general.

At the time that the book was written, the rational design methods of modernism
were the basis for architectural thinking. Venturi expresses his scepticism of this
modernism in various ways. This is where it is so different to Le Corbusiers equiv-
alent.
It is unclear exactly what the details are that the book is really trying to say. But it
is what the text implies that is of such importance to influence change. In contrast,
Le Corbusiers

Toward and Architecture (Towards a New Architecture), is much more clearly a

direct manifesto. It not only dismisses the contemporary trend at the time of his
writing for eclecticism and decoration, but it replaces them with a clear vision of
36

1. http://www.google.com/
u r l ? q = h t t p % 3 A % 2 F % 2 F fa c -
t a . j u n i s . n i . a c . rs % 2 Fa a c e % -
2Faace2003%2Faace2003-06.pd-
f%2520%2Fh&sa=D&sntz=1&us-
g=AFQ jCNGZl8f7f6IF_HY3UV-
venEhqCQgvuA
how the new architecture should be approached, and more still, how the new ar-
chitecture should look. Le Corbusier points towards architecture of stylistic experi-
mentation and in then aesthetic of an industrial age, functional and pure in form.
Important in Venturis book is the criticism of Modernist architectures functional
programme and rational design. Of particular issue to Venturi is Modernist archi-
tects disregard of cultural meaning and context with the creation of their archi-
tecture. Because of the unparalleled influence of Le Corbusiers Toward an Archi-
tecture, and although the text doesnt state it explicitly, we can in many ways look
at Complexity and Contradiction in Architecture as a reaction to, or even response
to, the influential work of le Corbusier. Even the manner on which Venturis book is
written is a response by way of its clearly non-formulaic approach to architectural
style.
And furthermore, we shouldnt forget that the working careers of the two archi-
tects overlapped. Venturi studied in the late 40s to early 50s and so his early work
was emerging at the same time as Le Corbusiers later or mature works.
To understand this book, we need to also understand the situation with Modern-
ism, during that post war period as well as the earlier pre-war version as well as
the different types, or strands, of Modernism. This will be also noted in Venturis
analyses and descriptions in the book. There are extensive comparisons of, and be-
tween, the different modernist architects of the time Le Corbusier, Aalto, Wright,
Mies, and so on and of their work, or elements of their work.1
Its not always clear why Venturi is making these comparisons, or whether they
are done in a critical or positive way. There does, however, seem to be a tendency
to be critical of the pre-war (and post war International Style) Modernism typified
37
 by the rectangular white box, strip windows and regular grid. But Pre-war (early)
Modernism was a new, Exciting, And DifferentReactionary. The new future. Turning
ones back on the past. Historical references and social and even physical contexts
were intentionally disregarded. So Venturi is missing the point that there was a lack
of cultural and social references in refutingModernism. Rational problem solving
was prioritised at that time.
It is important to remember the social situation, especially post WW1 Europe at
the time, as well as post WW2, post Great Depression 1930s USA.
Venturis view is that the form of rational design prevalent in Modernist design
thinking leads to the assumption that there is only one right way to design a build-
ing. Venturis book expresses the idea, the proposal, that a building, and the ar-
chitecture of our environment, may be designed in many ways, with different ap-
proaches and influences.
The book makes general criticism of modernist architectures design methods -
starting with the functional programme rather than the cultural purpose of the
architecture.
Robert Venturi published Complexity and Contradiction in Architecture after he
worked in the offices of Louis I. Kahn. Kahns career clearly had a significant in-
fluenced on Venturi. Both architects have a similar approach to architecture. For
instance, Kahn cited Architecture which includes diverse levels of meaning breeds
ambiguity and tension. Venturi frequently uses many of Kahns works and philos-
ophy as examples in his texts.
Based on precedents in the text, Venturi argues about the architectural order to
link the different contradictory elements and conventional buildings for spatial in-
38
teraction. Conventional factors were applied to contemporary viewpoints. He fo-
cuses on the harmonised effects of contradictory elements, in really the opposite
way to the Modernist approach.
Venturi is frequently categorised as Post Modernist. He rejects the Modernist archi-
tecture approach that refuses ornament and allows it to be primarily inspired by a
direct combination of functional simplicity and construction. This, he argues, brings
about geometrical form, which fits only to deal with Modernism. The post-modern-
ist approach to architecture would focus on ornamentation as one of the methods
to enhance the historical and cultural value in the architecture. Modern and con-
ventional, or traditional elements are combined in post-modernist architecture for
communication between the observer and architect.
But even more important to Venturi seems to be the lack of cultural meaning in
modernist architecture. And he points out the importance of the presence of cul-
tural meaning in historical styles.
Venturis criticism of the prevalent modernist design relies heavily on the reflection
and looking at the history of architecture, using historical examples in order to ex-
plain his argument. By doing this he also shows the significance, and acceptability,
of using historical styles as a source of inspiration to architects, opening the way
for the use of historical references, and quotes, especially significant to the devel-
opment of post modernism.
In the text, Venturi frequently stresses the use of the traditional elements in the
non-traditional way. It generates different meanings, which is ambiguous. Rob-
ert Venturis architectureimplies that the whole is more than the sum of its parts.
Through harmonisation of past and present elements in architecture, he considers
39
 the cultural context and relationships in architecture.
Throughout the book various analytical categories are addressed: complexity and
contradiction, as the title expects, as well as ambiguity, accommodation, contra- 2. http://www.google.com/
diction, juxtaposed, etc. These elements are applied in Venturis architectures. u r l ? q = htt p % 3 A % 2 F % 2 F ve n -
turiscottbrown.org%2F-
The most significant example that proves his architectural point is Vanna Venturi pdfs%2F%2520%2F-
House which has become known as the Mothers House, constructed in 1964.2 h&sa=D&sntz=1&usg=AFQ-
jCNGYZ4Ic7ylkl-XEi9UFRkAeG-
This House embodies Venturis architectural ideas expressing special complexity N6c4w
and illusion. For the facade, he tried to apply the complex factors in design rather
than simplicity. And both-and between insideand outside and diagonal as a and
this includes various levels of meaning..? This building apparently shows different
symmetrical accent. The symmetry is distorted for specific purposes of each space.
For instance, the chimney is placed out of central position and the layered walls
are juxtaposed indicating enclosure of different size and position, which makes lay-
ered space. In the thinness or thickness of the layered facade, it also has ambigui- 3. http://www.google.com/
ty. These complexity and contradiction that particularly apply to symmetry gives url?q=http%3A%2F%2Fwww.mu-
seomaga%2F&sa=D&sntz=1&us-
the space extraordinary sense which has distortion of plain elements and simple g=AFQ jCNHW-INpZ4lnk-
volume of Modernism.3 However this house was inspired by the Villa Savoye by Le jeav5UAEtLkHUMbZA
Corbusier, especially with regard to the inside design. In many ways, Venturi and Le
Corbusier- and Frank Lloyd Wright too - did the same thing in that they all have the
idea that the architect should design from the inside out even though they had a
reverse philosophy in architecture.
The categories discussed in the book are somewhat arbitrary and inter-connect-
ed. They are not clearly defined enough to create a design system such as we
could see with Modernism, Le Corbusier (Toward an Architecture), etc. But they do
40
 help to indicate the issues with the described bland rational outlook of modernist
architecture. He analyses how modernism architecture characterise through his
descriptions of representative architectures such as Falling water by Frank Lloyd
Wright or Le Corbusier architectures. And he pointed against Modernist that they
failed to have complex meaning in architecture because of their extreme inclina-
tion to primitive form of architecture which missed an ambiguity and tension and
this simplification cannot be exciting for architecture, as he quoted Less is bore.
He also stresses symbolism in architecture. Venturis another book Learning
from Las Vegas indicates the forgotten symbolism architectural form and meaning
symbolism since modern technology and historical symbolism rarely harmonise to-
gether.
Post modernists stick to the idea of historic symbolism in a design or building as
Venturi declared: Architecture can be many things, but it should be appropriate. It
should have cultural relevance. It is necessary to make this obvious point because
todays architecture is frequently arbitrary in its symbolism. Architects who indulge
4. Compexity and Contradiction their preferences for esoteric and exotic symbols tend to produce an architecture
in Architecture by Robert Venturi
of whimsical pavilions and picturesque follies that makes insufficient reference to
the diversities and subtleties of taste cultures at hand, or to the context of place
which should give substance to form.4
On the contrary to Modernist, Venturi insists that architectural elements should
be have contradiction juxtaposed and Super adjacency to approach complexity,
which Venturi suggests, on the text as architectural elements. And probably most
importantly encourage an alternative approach to the concept of design. So there
no explicit programme of recommendations for how to achieve a new architecture,
41
 However, conclusions or inspiration were drawn by other architects that altered
the character of modern architecture.
It is important to read this book alongside developing an understanding of Ventu-
ris (with Scott-Brown) theoretical and builds architecture work the work forms
somehow a pictorial description of the book.
As Venturi states right at the beginning This book is both an attempt at architectur- 5. Compexity and Contradiction
al criticism and an apologia and explanation, indirectly, of my work in Architecture by Robert Venturi
.... An architecture of complexity and contradiction has a special obligation toward
the whole: its truth must be in its unity of exclusion. More is not less.5 Based
on the philosophy of complexity and contradiction, he re-assessed architecture
to stress the importance of the needs and meanings in appreciating architecture.

42
PARAMETRICISM AS STYLE
PARAMETRICIST MANIFESTO
Although aesthetic appearance matters enormously in architecture and design,
neither architecture as a whole nor its styles can be reduced to mere matters of ap-
pearanceThe new style poses many new, systematically connected design prob-
lems that are being worked on competitively within a global network of design re-
searchers. Over and above aesthetic comparability, it is this widespread, long-term
consistency of shared design ambitions and problems that justifies declaring a style
in the sense of an epochal phenomenon,says Patrik Schumacher.

43
Fig. 1 - Typical parametric
design/concept. (Zaha
Hadid Architects, 2006)
 On this article, published on 2008 at the Venice Architecture Biennale, Patr-
ik Schumacher explains how and why Parametricism should be considered as the
new, great and most potent style today, not only in Architecture, but in the world
of Arts in general.
As said in the interview/article The Impact of Parametricism in Architec-
ture and Society (2014), this new style is compared to the Modernism in the 20th
century and it is described as the new revolution in Architecture Urbanism/Plan-
ning and Design after the classic styles, such as Gothic, Baroque, Neoclassicsm and
Modernism.
A question that comes up is: Is Paremetricism a style ,a movement or a
trendy statement/idea? In order to create an argument on the Parametricism, we
should try to explain the definition of it. According to Schumacher, Parametricism
1. Shumachers words on aims to organise and articulate the increasing diversity and complexity of social
Parametricism
institutions and life processes within the most advanced centre of post-Fordist net-
work society1. Basically, it is a computer based design programme which runs with
parameters entered on the software, where every element is linked to the others
and progressively changing. It is characterized by the dynamic, progressive and dif-
ferent form, contrasting with the classic styles where we had geometrical based
projects and a wide range of similar buildings (ie. The great Gothic cathedrals or
the Reinassance buildings). In other hand, this style is not just about new shapes,
or just the superficial appearance of things, but it also comes to organize and ar-
ticulate different types of social institutions and life processes, creating a network
society where every element is linked and gets affected by each other. Patrik also
states that a style is a design research programme, and we should not think that an
45
 Architectural style is guided by appearance, only.
Doing a quick comparision between the Parametricism and Le Corbusiers
Modernism, maybe we can find out whether it can be considered as the new major
style or not. The 20th century Modernism came up as a complete new style, from
the apperance to the theoretical concept. The new way of thinking, the minimal
concrete and glass structures, the functionalism, made a complete contrast with
the styles that came before, like the Neo-Classic. It was a complete new world, a
new step and a revolution in the Architecture world, a passage from the repet-
itive classical structures made out of stone with the old school ceilings to the
free plan, the open spaces, the smooth and clean facades, the horizontal windows,
the brise-soleils, the pilotis and roof-gardens, Structures which were willing to be
related to the nature and for the first time, create a brand new link between the
building the space surrounding it. Now looking at the Parametricism described by
Patrik, we can clearly notice some similar/identical aspects between his style and
some movements from the 20/21st Century such as the Blobitecture, from the or-
ganic shapes to some style concepts. The modernism had a mentor, Le Corbusier,
but should we consider Schumacher as a mentor of a new revolutionary style, or
as someone who proclaims himself as a creator of a style that takes ideas from
other different Architecture movements which already exist?

46
Fig. 2: Villa Savoye by
Le Corbusier. One of the
Modernism icons.
 THE ARGUMENT
Assuming that a new style should have a new concept and a new set of rules from
its basis, we can conclude that Patriks Parametricism borrows a lot of ideas from
previous movements.. Organicism, functionalism, high-tech (although it focus-
es mainly on the bridge from modernism to post-modernism), structuralism, and 2. The best ideas are stolen
Patrik Schumachers
mid-century modern (a furthered version of organicism). All presented most of the Parametricism, written and pub-
ideas featured in parametricism.2, as said by Danielle Siemens on her article about lished by Danielle Siemens.

the Parametricism. As the Modernism has established rules such as the usage of Pi-
lotis, the Roof Garden and the Independent plan, Patrik sets some rules that appear 3. Schumacher, Let The Style
to be pretty similar to the Blobitectures ones, specially. He tries to prove that Para- Wars Begin p42

metricism is a style saying innovation in architecture proceeds via the progression

of styles so understood.3 Simplifying it, he says that every major style is based on
previous styles and movements , so Parametricism is based on older styles but in a
optimized and more sustainable version. It is definetly a good point, but the truth 4. This term was first used by the
is that Parametricsm has not brought a major advancement when compared to modernist Frank Lloyrd Wright in
his book An Organic Architec-
styles/movements as the Boblitecture or Organicism. In order to formulate a solid ture, 1939.
argument, we must know how Boblitecture and Organicism4 are characterized.

48
Fig. 3: Heydar Aliyev
Center by Zaha Hadid
Architects.
A parametric project.
 During his experiments on the 90s, Architect Greg Lynn (Blobitecture movements
mentor) started doing computer aided designs/concepts to create new and un-
common forms/shapes, passing from the right angled and squared Modern Archi-
tecture to a new wavy, curvy and expressive style. Manipulating parameters on
the software, Architects and Designers were able to create concepts which would
be impossible to create without a software. These characteristics are common be-
tween Patriks Parametricism and Gregs Bloblitecture, and apparently they are the
fundamental base for both styles/movements. Two styles that have the same sort
of design and which are impossible to use without manipulating algorhythms or
parameters via software. Each major style has its own fundamental base, different
from the previous styles, and claiming that this is the new Architectural revolution,
it must have been created with its own base concepts. Its hard to notice two dif-
ferent styles if we look at a Parametric and Blobitecture building, because they are
very similar, not just on many of the conceptual rules, as the interior/exterior de-
signs. A new major style works as a recreation of its antecessors. Oscar Niemeyer
and the Brazilian poet Ferreira Gullar used to say that nothing is invented, every-
thing is a re-creation of what existed before, which is not the case of Parametri-
cism. Patrik Schumacher literally passes over every style/movement from where
he took his ideas of, and assumes that a new style has been created by him. Para-
metricism is a style made out of stolen ideas, and even design-wise it looks nothing
but very similar to Flynns Blobitecture or Organicism. The level of re-creation or
invention existing inside Patriks parametricism is very low. If we take a closer look
to the Gaia Charter, where we can find the the ideals and rules of Organicism , the
similarites are clear.
50

5. Gaia Charter, published by Da-
vid Pearson
Reading the Charter, we can find the following passages:
- be inspired by nature and be sustainable, healthy, conserving, and diverse.
- unfold, like an organism, from the seed within.
- exist in the continuous present and begin again and again.
- follow the flows and be flexible and adaptable.
- grow out of the site and be unique.
- celebrate the spirit of youth, play and surprise.
- express the rhythm of music and the power of dance.5
51
Fig. 4: London City Hall
by Foster +
Partners
Both styles share the same rules, rules which were originally written by David Pear-
son to describe the Organic Architecture. Parametricism looks to create harmony
with the environment, natural and/or urban. Organicism tries to create a link with
nature. Parametricism, just as Organicism, uses its environment for decoration, al-
though not as deep as organic architecture. The main difference between them is
that Organicism relies on the Modernism principles, with straight lines and right
angles that create a difference in style.
There are a set of problems that Parametricism (as well as Blobitecture) faces and
disallow it to become the new great style in Architecture. The great majority of
Architects would not be able to incorporate Parametricism on its projects, not just
on big scale projects but on small ones, like housing projects. A certain capacity and
know how is needed to make it able for the Architect to use this typle of design
on a daily basis. There are a few group of Architects like Zaha Hadid who had the
opportunity to attend an Elite school just like the AA, and had the chance of learn-
ing to the deepest level, how to manipulate parametric softwares. The majority
of Architecture schools do not have the conditions and resources to teach to this
level. For me, the main reason that definetly blocks this style of being the next
big trend in the Architecture world is the fact that in a century where everyone is
looking for cheaper and faster building solutions, Parametricism would be the last
of the last options to pick up from. With complex shapes and the necessity of using
expensive materials, it is impossible to imagine a world where this style turns into
the main type of construction, just like the Modernism did during the 20th Centu-
ry. Structural issues are another big problem about this style. For exemple, the
Olympic Aquatic Centre in London, a parametric whale shaped building that cost
53
 millions to build and extra funds to correct the structural problems. A lot of cons
make Parametricism become the less reliable option when it comes to building. A
lack of manufactoring methods, structural problems, excessively high budgets to
build, the very small group of Architects who actually do Parametric projects and
the lack of autenticity lead this proclaimed style not to become the next great
movement in Architecture.Parametric Design should be used as an Optimizer, and
not as a way of wasting more funds. Every type of Architecture comes up with a big
percentage of politics and economical context, and in this case it seems like Patrik
Schumacher does not care very much about these details. As seen on the article
A new Global for Architecture and Design, published by himself.

54
Fig. 5: Foundation L.
Vuitton by F. Gehry
Fig 6: Falling Water by
Frank L. Wright. An
example of organic
Architecture
Now, citing one more reason to prove the failure and inconsistency of Parametri-
cism, we will take a look to some projects, just as the N House by Fujimoto, where
the Architect integrates all the values and interaction that Patrik presents as exclu-
sive and unique qualities of Parametricism, but on the other hand does not respond
to all parametric techniques, and even uses geometric shapes like squares, which
are seen as forbidden for the Parametric Architecture, described by Schumacher.
In conclusion, we can see the Parametricism as a interconnected type of social
system, created by stealing ideals from other styles (like the ones stated above)
together and described by computer-based, programmed ,dynamic and endless
types of shapes, having almost a complete contrast with the Classic movements
.There are four main reasons that make this style a big fail in the history of Archi-
tecture. The ideas and concepts taken from other styles prove a lack of indentity
and solidity that no major style could have, the high construction costs and the low
number of Architects who actually do this type of Architecture and consider them-
selves as Parametricists. We can see a large number of projects where Architects
used Parametric qualities without doing Parametricist Architecture. So it reveals
a very big lack of consistency when compared to the previous great styles/move-
ments. Every major style which was created had its unique rules and standards.
A style which inconsistently relies on rules that belong to other movements will
never succeed, unless there is a massive change on the way of thinking inside the
Architectural society, in the future.

57
Fig.7: Complex buildin of
the Olympic Aquatic Centre
by ZHA.
Fig 8: Interior of the N
House by Fujimoto
 THE ATLAS OF NOVEL TECTONICS
1. http://www.reiser-umemoto.
com/

Jesse Reiser and Nanako Umemoto, the authors of The Atlas of Novel Tec-
tonics have been practicing together since 1986, through the practice RUR Archi-
tecture PC.1 Jesse Reiser is currently a Professor at Princeton and Nanako is cur-
2. http://www.reiser-umemoto.
rently a visiting professor at the southern Californian institute of architecture.2 The com/
book was published in 2006, and it was funded by Princeton University and grants
from the Graham foundation for advanced studies in the fine arts. Their practice in
my opinion truly expresses its individual novelty and it is clear through their work
that the pair share the same niche views on most aspects of architecture.

60
Fig 1: Kaohsiung Port Ter-
minal model. Courtesy of
RUR
 The Atlas of Novel Tectonics is a title which has a conative meaning other
than its definition. The laymans definition of the title is as follows:

Atlas - A book of illustrations or diagrams

Novel new or unusual in an interesting way

Tectonics the art or science of construction especially of large buildings

The text is highly criticised for its obliqueness which is often unnecessary
especially when you take into account that the book is funded by an educational
institute and the title makes it clear to the audience that this is an advanced text.
As I looked further than this I realised this is not the only effect the title has. The
title causes the reader to search for deeper meaning in the text, which I have over
time and research realised that this is the main goal of the book.
Reiser and Umemoto dont really attempt to hide the implementation of 3. http://www.canadianarchi-
tect.com/news/reiser--umemo-
their views despite the fact that the book was intended for educational purposes to-s-i-atlas-of-novel-tecton-
and was funded by the University of Princeton.3 It is incredibly important to consid- ics-i-wins-two-international-
awards/1000063036/
er the implications of such behaviour. This is why I have decided to place it so early
in my response. To understand this highly complex text you must take their
4. The Atlas of Novel Tectonics
subjectivity into account. They refer to the atlas as a preface from beginning to (Jesse Reiser, Nanako Umemoto,
end4, essentially claiming the book is an introduction into their methods of archi- 2006) p20
tecture, as the preface to a book is defined as an introduction to a book, typically
stating its subject, scope, or aims., and also express their emphasis on the fact that
62
5. The Atlas of Novel Tectonics it is intended as a book of disciplinary methods rather than a book of
(Jesse Reiser, Nanako Umemoto,
2006) p438 recipes5. You could say that the fact that the book was commissioned by the uni-
versity committee on research in the humanities in social sciences obliges Reiser
and Umemoto to focus on the qualitative sides of architecture, but despite this fact
they admit to exploring architecture in this way as commonplace, although Reiser
and Umemoto do show many considerate qualities such as the Common Errors to
6. The Atlas of Novel Tectonics Avoid chapter, or the encouragement for architects to reimagine the tools they use
(Jesse Reiser, Nanako Umemoto, in a completely fresh and ultimately uninfluenced way.
2006) p24
In the Atlas, at one point they state that apologists for modernism are in
grave error, which is a dangerously idiosyncratic view especially considering the
7. The Atlas of Novel Tectonics
educational purpose of the book.6 They claim that at a fundamental level, due to
(Jesse Reiser, Nanako Umemoto, their qualitative fashion, their work changes the way architecture is thought about
2006) p24 and designed, and the way it emerges as material fact7. Although I agree with
many of the futurist arguments, I think that their comments on modernist ideas
contradict their advocacy of globalisation as the international style of architecture
8. http://www.visual-arts-cork.
com/architecture/internation-
seems to encompass a broad spectrum of modernism, which it stemmed from it.8
al-style.htm Towards the end of the exert, Reiser and Umemoto state that they seek
to dispel the essentialist assumptions about universality, solidified notions about
historical models, and even the irreducibility of the authors themselves9. If this is
9. The Atlas of Novel Tectonics what the book has set out to do then they have been an un-debatable success, as
(Jesse Reiser, Nanako Umemoto,
2006) p27
the previous paragraph has hopefully illustrated. Throughout my research I have
been battling with historical models, past architectural styles and even renowned
architects, which has lead me to learn that the knowledge of the past is not a bible
to worship and follow word for word, but is a canvas for us to interpret, expand
63
 and express. My initial reaction to this text despite my fondness of it was negative,
as the Rieser and Umemoto were attacking the principles and concepts I had been
taught and grown to love, and I thought this was just them aimlessly expressing
their opinions. I have learnt that this was completely intentional and due to the
complexity and structure of their text premeditated.
I believe that the reason for the pairs attack on so much of architecture is
based solely around their attempts to influence the audience to seek deeper mean-
ing in all architecture. By challenging the architecture we already know we are re-
considering it and interpreting it in our own ways. I think this makes it justified for
an educational text to take such an aggressive stance.
The Parametrecists Manifesto by Patrick Schumacher reminded me of the
Atlas, mainly because of the extremely strong opinions voiced and the general style
of architecture. Schumachers piece at first glance has a lot in common with the
Atlas. Archdaily states Schumacher calls for a conceptual reconstruction, meaning
that we must disregard style as a matter of appearance, and move to understand
style as a design research program conceived in the way that paradigms frame sci-
entific research programs. Which strongly reminded me of the many times Reiser 10. http://www.archdaily.
and Umemotos Atlas states that they view architecture from a completely new com/64581/parametricist-mani-
festo-patrik-schumacher/
perspective by not taking architectural history into account10. Although Schumach-
er is speaking strictly about parametrecism, and Reiser and Umemoto are speaking
generally about the history of architecture the same concepts are there; they both
want to redefine architecture from the ground upwards.
The Architects Handbook of Practice Management Eighth edition by Nigel
Ostime and David Stanford proves such a level of personal opinion is not necessary
64
in this type of academic text by giving a straight and concise delivery of informa-
tion, but you have to take into account the desired outcome of the author, as on
paper they could appear to be together as a methodology handbook. It is incredi-
bly similar content wise, as it follows the architectural process of a practise and it
is produced by the RIBA for educational purposes, but you can clearly see how the
two have approached the subject from opposite ends of the spectrum, (please give
an example of this) This is why you cannot dismiss the fact that the authors were
ultimately aiming for a different book, as Reiser and Umemoto aimed to create a
revolutionary text, and their emphasis on the impact of architecture on history re-
inforces this. It feels almost necessary to point out the partial view of architecture
that is expressed by Reiser and Umemoto to continue as it the best way to express
much of the context, as well as appeal to the book. Its relation to the Architects
Handbook of Practice and Management and juxtaposition really points out these
aspects of the book.
Reiser and Umemotos unique dismissal of the history of architecture are
what they mainly attribute to their very current outlook on architecture and they
stress that what they ultimately aim for is the architecture processes to be as far
from any visited before as possible, in order to excel in innovation. They think
that due to them viewing architecture from a fresh slate they are able to create
ground-breaking architecture. I respect them for their assertion, as it is a method,
which requires an unnecessary increase in the amount of time and effort put into
their work, and it almost feels as if they are sacrificing themselves for the good of
architecture. As much as I respect their decision it also seems incredibly reckless
and childish, as they have decided to abandon the history of architecture, which
65
Fig 2: Work by Patrick
Schumacher, a Zaha
Hadid partner.

11. The Atlas of Novel Tectonics interest in the present architectural methods, but I am always lead back to the
(Jesse Reiser, Nanako Umemoto,
2006) p20
12. 0-14 : Projection and Re-
ception (Jesse Reiser, Nanako
Umemoto)
has so much to offer and to teach, in the hopes of creating something singular,
which is almost insulting. The relationship between architecture clearly does not
have to be an adversarial one with either having the upper hand over the other,
rather a more organic and symbiotic relationship with the growth of architecture
flourishing into what it is today. I think they would have more success by seeking
out the limits of architecture and technology in search of architectural revolution,
rather than abandoning the progress of our forefathers, but some may say that by
abandoning the past, they are creating purely in the most advanced form possible
the present, as they do strive to investigate what can be achieved by using com-
puters and modern techniques to investigate form. On many occasions throughout
my research I have questioned my right to target such a statement, due to their
statement Architecture makes a new history; history doesnt make a new architec-
ture11. I feel that the authors are confusing history with Canon. They are not cre-
ationists, they are iconoclasts, whether they accept it or not. History begins now
and has, architecturally as well as in every other way brought us to where we are
today. It is always from this starting point that any architect (unless they have lived
in a vacuum) makes their work. The dismissal of history, and the praise of present
techniques seems strange, as it is still part of history, even if it not part of a canon.
The book 0-14 : Projection and Reception12 has an interesting relationship
with the Atlas of Novel Tectonics. It follows the process of conception and con-
struction of the Jesse Reiser and Nanako Umemotos new building 0-14 in Dubai,
the pair often refer to their work as alien, stating that good architecture, like the
aliens alien. Again their work often appears overly complex, and the two often
67
 use unnecessary words, which they would consider to fall under the blanket of
precision and They stress the fact that they attempt to put in the highest amount
of effort and precision to any aspect of their practice, but in some cases the overly
complex vocabulary or concepts in their work leaves it disadvantaged. You can see
why they are able to make such claims, as the 0-14 building is an incredibly alien
structure, and it clearly has been completed with a high level of intricacy, as ac- 13. http://archrecord.con-
struction.com/projects/portfo-
cording to Archrecord the buildings poured concrete exoskeleton has 1326 holes, lio/2011/08/0-14-Tower.asp (Au-
in 5 different sizes.13 The attempt at approaching architecture from an unexplored gust 2011)
perspective has lead to the structure being incredibly unique, as the exoskeleton
sits 3 feet away from the building and is attached to the building by concrete rods,
which eliminates the need for internal columns but many people interpret this dif-
ferently and consider it to be a modern day reincarnation of the flying buttresses.
There will always be their relations between their work and previous architecture,
but many people see relations like these as completely contradictory to their text,
as the book emphasises individuality, yet they are using recycled concepts. Reading
the book was a shock, mainly due to the change in writing style of the authors.

68
FIg.3: The 0-14 building by Jesse
Reiser and Nanako Umemoto
Architecture PC
 The Atlas of Novel Tectonics is clearly a book rich in deeper meaning and
below the surface an incoherent set of ulterior motives are revealed. As I have said,
at first I personally felt almost insulted by Reiser and Umemotos, but I later learnt
the aggression they show is an attempt to lure you into doubting the principles of
architecture you know, and this is exactly the same concept as their dismissal of
history as both are extremely similar. The desired outcome of the book appears
to be that the authors have been trying to get the reader to interpret architecture
in a truly novel manor. I feel as though the book was a great success and it has an
incredible effect in terms of media as it has flipped the ideas of audience theory,
as it is one of the few texts where the oppositional reading is what the authors are
aiming for.

70
APPENDIX
An Exploration into the Works and Teachings of Adolf Loos

Fig. 1: Wurm, E. (2003). Fat House Mller/ Adolf Loos. [Resin] http://www.museo-
magazine.com/ERWIN-WURM: Museo.

Perception of Form, Line and Colour in Architecture Constructivism

Fig. 1: The Charnel-House, (2013). Narkomfin Building, Moscow. [image] Available

at: https://rosswolfe.files.wordpress.com/2013/10/narkomfin.jpg.
Fig. 2: The Charnel-House, (2014). Ginzburgs Proposal Palace for the Soviets.
[image] Available at: https://rosswolfe.files.wordpress.com/2014/01/gin.jpg.
FIg. 3+4: Totalise, (n.d.). Gestalt Theory of Visual Perception. [image] Available at:
http://www.users.totalise.co.uk/~kbroom/Lectures/gestalt.htm.

What Can we Learn from Kahns Monumentality

Fig. 1: Louis I. Kahn Collection, (2012). Louis Kahn Sketch of Four Freedom Park.
[image] Available at: https://placesjournal.org/article/past-perfect-four-freedoms-
park/.
Fig.2: Nutt, B. (2014). Fig. 2: (right) Holiday inn, Formerly the Bedford hotel, Brigh-
ton. A classic example of ugly post-war development, met with public distaste.. [im-
age] Available at: https://barnabynutt.wordpress.com/2014/11/01/brutalist-brigh-

71
 ton-the-holiday-inn/.

Parametricism as Style Parametricist Manifesto

Fig. 1: Zaha Hadid Architects, (2006). Typical Parametric Design/Concept. [image]
Available at: http://www.patrikschumacher.com/Texts/Parametricism%20-%20
A%20New%20Global%20Style%20for%20Architecture%20and%20Urban%20De-
sign.html.
Fig. 2: Architecture Top Design Picture, (2014). Villa Savoye And Greek Architec-
ture. [image] Available at: http://www.architectwall.com/villa-savoye-and-greek-ar-
chitecture/.
Fig. 3: Dezeen Magazine, (2013). Heydar-Aliyev. [image] Available at: http://www.
dezeen.com/2013/07/11/heydar-aliyev-centre-by-zaha-hadid-architects/.
Fig. 4: Powerstar, (n.d.). London City Hall. [image] Available at: http://powerstar.
com/case-studies/london-city-hall-voltage-optimisation-in-government-buildings/.
Fig. 5: Parr, C. (2014). The Foundation Louis Vuitton Designed by Frank Gehry. [im-
age] Available at: http://www.pursuitist.in/the-fondation-louis-vuitton-designed-by-
frank-gehry/.
Fig.6: Fallingwater, (2015). The Falling Water by Frank L. Wright. An Example of
organic Architecture. [image] Available at: http://www.fallingwater.org.
Fig. 7: Binet, H. (2012). Construction of the Olympic Aquatic Centre by ZHA. [image]
Available at: http://www.archdaily.com/161116/london-aquatics-centre-for-2012-
summer-olympics-zaha-hadid-architects/1138_hb_009/.
Fig. 8: EgoDesign, (2011). Interior Design of N House by Fujimoto. [image] Available
at: http://www.egodesign.ca/en/article_print.php?article_id=550.
72
The Atlas of Novel Tectonics
Fig. 1: The Cooper Union, (2011). Kaohsiung Port Terminal model. [image] Available
at: http://cooper.edu/events-and-exhibitions/events/lecture-jesse-reiser-and-nana-
ko-umemoto-reiser-umemoto-rur-architectur.
Fig. 2: Harvard University, (2012). Work by Patrick Schumacher, a Zaha Hadid part-
ner. [image] Available at: http://www.gsd.harvard.edu/#/events/patrik-schumach-
er-parametric-order-21st-century-architectural.html.
Fig. 3: Reiser + Umemoto, (2009). The 0-14 building by Jesse Reiser and Nanako
Umemoto Architecture PC. [image] Available at: http://www.archdaily.com/22200/
in-progress-0-14-tower-by-reiser-umemoto/.

73
 BIBLIOGRAPHY
An exploration into the works and teachings of Adolf loos

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Perception of form, line and colour in architecture - constructivism

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articleid/1715

WHAT CAN WE LEARN FROM KAHNS MONUMENTALITY ?

1. Modern Monumentality, Louis Kahn (2013), Virginia Duran, Available at https://

duranvirginia.wordpress.com/2013/03/07/architecture-modern-monumentali-
ty-louis-kahn/
2. On Monumentality, Search for the universal (2003), Richard Francis-Jones Avail-
76
 able at http://www.fjmt.com.au/pdfs/rfj_monumentality.pdf
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at http://www.ub.edu/escult/doctorat/html/lecturas/sert1.pdf
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mitted to the department of architecture on may 7th 1993
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8. Something worth keeping? Post-war architecture in England (1996) published
and edited by English Heritage
9. Architecture at the crossroads (documentary), First broadcast in 1986 by the
BBC

ROBERT VENTURI: COMPLEXITY AND CONTRADICTION IN ARCHITECTURE

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cle=1002&context=cas-lehighreview-vol-14

PARAMETRICISM AS A STYLE - PARAMETRICIST MANIFESTO

1. Schumacher, P. The Impact of Parametricism on Architecture and Society[on-

line], Interviewed by Angel Tenorio, London, March 2014. available from
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metricism [online], DanielleSiemens, March 16, available from http://www.
daniellesiemens.wordpress.com/2012/03/16/the-best-ideas- are-stolen-pat-
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technology, Media and Culture, January 18, available from http://www.richard-
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5. Van Eck, C., 1993. Organicism in Nineteenth Century Architecture: An Enqui-
ry into Its Theoretical and Philosophical Background.
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tecture-concepts/2013/11/patrick-schumacher-a-new-global-style-for- archi-
tecture-and-design/

THE ATLAS OF NOVEL TECTONICS

1. RUR Architecture PC. (2010). Bio. Available: http://www.reiser-umemoto.com/.

2. Anthony Vidler. (2011). LECTURE BY JESSE REISER AND NANAKO UMEMOTO
/ REISER + UMEMOTO RUR ARCHITECTURE. Available: http://cooper.edu/
events-and-exhibitions/events/lecture-jesse-reiser-and-nanako-umemoto-reis-
er-umemoto-rur-architectur.
3. DAILY NEWS. (21 March 2007). Reiser + Umemotos Atlas of Novel Tectonics
wins two international awards. Available: http://www.canadianarchitect.com/
news/reiser--umemoto-s-i-atlas-of-novel-tectonics-i-wins-two-international-
awards/1000063036/
4. The Atlas of Novel Tectonics (Jesse Reiser, Nanako Umemoto, 2006)
5. Visual Arts . (2011). International Style of Modern Architecture Origins, Devel-
opment, Characteristics (c.1920-70). Available: http://www.visual-arts-cork.
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 com/architecture/international-style.htm
6. Karen Cilento. (2010). Parametricist Manifesto / Patrik Schumacher.Available:
http://www.archdaily.com/64581/parametricist-manifesto-patrik-schumacher/
7. Harvard University . (2011). Patrik Schumacher, Parametric Order21st Cen-
tury Architectural Order. Available: http://www.gsd.harvard.edu/#/events/
patrik-schumacher-parametric-order-21st-century-architectural.html.
8. 0-14 : Projection and Reception (Jesse Reiser, Nanako Umemoto, November
2012)
9. Suzanne Stephens. (2011). 0-14 Tower. Available: http://archrecord.construc-
tion.com/projects/portfolio/2011/08/0-14-Tower.asp
10. Ethel Baraona Pohl. (2009). In progress: 0-14 tower by Reiser + Umemoto.
Available: http://www.archdaily.com/22200/in-progress-0-14-tower-by-reiser-
umemoto/.

80
 ACKNOWLEDGEMENTS
We would like to take this opportunity to thank everyone that made the Pocket of
Collected Essays a success.

Our tutors, Catalina and Tilo, for their advice and guidance.

Our parents who support us through our education, particularly in paying for
tuition.

The University of Brighton for our Architectural Education

The Print Room in Brighton for being so kind as to guide our printing process.

And for each other, for making this work a success.