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Arch 5110 – Pre-thesis
Interrogation 4




                          what about form?
                           Somol and Aureli’s Readings




                         Hugo Lemes | Victor Ramos | Hanjoon Kim
somol



Somol crushes the mythology in architecture and urbanism – the mask
which covers a mere landscape of shapes.

A mask generated by anthropology, sociology, technology, etc (all the
‘isms’ of the world).
shape vs. form
              Shape is simply cool or boring

       Shape is void of information, low-resolution

               Shape requires participation

                  Form is always serious

Form results from generative process and some sort of ‘ism’

             Form must be reasoned, always
shape
Traced to calculated
vagueness in renderings of
Hugh Ferris and the
hollowness of minimalist art

Monumental (Superstudio’s
Continuous Monument)

Arbitrary, ambiguous
What About Form?
shape
Inside inconsistent with the
outside

Intensive (OMA’s approach
in CCTV to proportionately
increase volume and
envelope by using large
voids, holes, etc)




               Melnikov House
shape
Exists in the material
world, unlike form, which
can be abstract,
theoretical

Evidence of the effect of
entropy in architecture.

Buoyant, must float
SHAPE ‘MUST’
   FLOAT?
“A shape is hole in a thing it
is not. People look through
them or from them, and
not necessarily at them.”
(Carl Andre)
(As contrary to a
form/massing)
The Whitney
Museum
shape is hieroglyph




                                  =
“Shapes can be interpreted as hieroglyphics; incomprehensible, yet their
stubbornly figurative and symbolic character wants to be deciphered.”
(Aureli)
Architecture and Content, Aureli

Urban scene did not take the object of architecture.

Monumentality is being brought back into focus, particularly after 9/11

Contemporary architecture divided into shapers and movers.

One side bound to the super rational (movers) and the other, free
(shapers)
Herzog and De Meuron   Richard Meier




 Shapers?              mover?
-isms
   neo-classicism – romanticism – realism – symbolism – impressionism – post-impressionism –
    cloisonnism – synthetism – art deco – fauvism – cubism – maximalism – minimalism – post-
 minimalism – orphism – futurism – synthetism – expressionism – vorticism – suprematism – neo-
       expressionism – dadaism – surrealism – tachism – lyrical abstraction – constructivism –
   deconstructivism – rationalism – critical regionalism – regionalism – blobism – modernism –
      neomodernism – postmodernism – classicism – neo-classicism – romanticism – realism –
symbolism – impressionism – post-impressionism – cloisonnism – synthetism – art deco – fauvism
   – cubism – maximalism – minimalism – post-minimalism – orphism – futurism – synthetism –
expressionism – vorticism – suprematism – neo-expressionism – dadaism – surrealism – tachism –
    lyrical abstraction – constructivism – deconstructivism – rationalism – critical regionalism –
        regionalism – blobism – modernism – neomodernism – postmodernism – classicism –
   – romanticism – realism – symbolism – impressionism – post-impressionism – cloisonnism –
     synthetism – art deco – fauvism – cubism – maximalism – minimalism – post-minimalism –
orphism – futurism – synthetism – expressionism – vorticism – suprematism – neo-expressionism –
     dadaism – surrealism – tachism – lyrical abstraction – constructivism – deconstructivism –
     rationalism – critical regionalism – regionalism – blobism – modernism – neomodernism –
                                postmodernism – classicism – urbanism
-isms
blobism –
architecture in which buildings have an organic, amoeba-shaped, bulging
forms

critical regionalism –
an approach to architecture that strives to counter placelessness and lack of
identity in modern architecture by utilizing the building’s geographical
context

deconstructivism –
is a development of postmodern architecture that is characterized by ideas
of fragmentation, an interest in manipulating ideas of a structure’s surface or
skin, non rectilinear shapes which serve to distort and dislocate some of the
elements of architecture, such as structure and envelope
What About Form?
Sage Gatestead, Norman Foster
-isms
blobism –
architecture in which buildings have an organic, amoeba-shaped, bulging
forms

critical regionalism –
an approach to architecture that strives to counter placelessness and lack of
identity in modern architecture by utilizing the building’s geographical
context

deconstructivism –
is a development of postmodern architecture that is characterized by ideas
of fragmentation, an interest in manipulating ideas of a structure’s surface or
skin, non rectilinear shapes which serve to distort and dislocate some of the
elements of architecture, such as structure and envelope
Vitra Design Museum, Frank Gehry
UFA-Palast in Dresden by Coop Himmelb(l)au
-isms
“Following the defeat of other types of false-consciousness, including
functionalism, organicism, realism, pragmatism, supermodernism, mi
nimalism, populism and utopia, there is nothing left to be had except
a sublimation of all such residue, that is, an autistic and self-
referential universe made up of fragments and drifting
babbles, incapable of transmitting any sense. This is a universe
nurtured by the tired regimes of words and meanings that, beyond
their evident hermeneutic paranoia, do not propose any new ideas”
-isms
|Questions|

Do notions of –isms now propagate new architectures or are they
simply pedagogical means to classify an otherwise unclassifiable
assembly of forms and shapes?

Pertaining to pedagogy, what is good design and how does/should
one teach it? Shapes or forms? Both?
what am i? mover or shaper?




Libeskind: I like   Zaha: I am driven by
deconstructivism    deconstructivism also!
what am i? mover or shaper?




    Peter Eisenman: I like deconstructivism, and
    conceptualism
what are we?
   Diller Scofidio + Renfro:   floating shape




 We like conceptualism too!
what am i?




                                      Norman Foster: I go for Blobism and
Frank Ghery: I favor Blobism and
                                   Structural Expressionism/Late Modernism
Deconstructivism
                                            /High-Tech Architecture
what am i?




Niemeyer: I have breathed modernism   Rem Koolhaas: I like Conceptualism
                                      and Deconstructivism
architectural optimism
Envisions a world in which the architect can reappropriate spaces without having to
rely on the intellectual taboo of the difficult and their many responsibilities to
society, technological resources, program, and the moral blackmail of utopia

NO MORE ISMS! But then….architectural optimism is yet another ism

|Questions|
Would an architectural thesis devoid of any major ‘ism’ and speculation, be as
acceptable as any ‘minimalist’, monolithic ‘shape’ architecture now being executed by
the most renown architects?

There has been a teaching about visual representation in architecture schools; “A
drawing has to speak itself.” Does a building have to speak itself about what “ism” it
is? As an architect, do you expect for the public to interpret architecture and
understand how its form is driven other than experiencing by just looking at its shape?
what architecture is really about
Somol suggests that we need to pay attention to what architecture is
really about – not the false image provided by
diagrams, logos, software, installation, mappings of urban realities, etc, or
the intellectual data.
What About Form?
What About Form?
shift
Shift from the mapping-fetishism of the 1990s to a new shape-fetishism in
the zeros of the new millennium

Value in large shapes lies in their superficiality, emptiness, nothingness
content
Today the content of the easy contributes to an economy of information
that, behind the mythology of accessibility, the ordinary, the
spontaneous, and the self-organizing, hides an unconvincing ideological
and political opacity.

Koolhaas, Herzog & de Meuron, Jean Nouvel, Toyo Ito, Diller +
Scofidio, MVRDV and all of their followers – is pure content, or
contenthood, as Fried might say today.

Also:

EXCESS OF CONTENT = LACK OF SENSE
OMA
Herzog & de Meuron
Jean Nouvel
Toyo Ito
Diller + Scofidio
MVRDV
form – object to form-index
Rudolf Wittkower, Colin Rowe, or
Peter Eisenman = difficult form or
form-object

Present ‘shape architects’ = form-
index
Aureli’s conclusion


We must concentrate on the idea of form, determining the specific sense
of it for each case, in such a way as to salvage it from its own already tired
and self-referential drift into content.

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What About Form?

  • 1. Arch 5110 – Pre-thesis Interrogation 4 what about form? Somol and Aureli’s Readings Hugo Lemes | Victor Ramos | Hanjoon Kim
  • 2. somol Somol crushes the mythology in architecture and urbanism – the mask which covers a mere landscape of shapes. A mask generated by anthropology, sociology, technology, etc (all the ‘isms’ of the world).
  • 3. shape vs. form Shape is simply cool or boring Shape is void of information, low-resolution Shape requires participation Form is always serious Form results from generative process and some sort of ‘ism’ Form must be reasoned, always
  • 4. shape Traced to calculated vagueness in renderings of Hugh Ferris and the hollowness of minimalist art Monumental (Superstudio’s Continuous Monument) Arbitrary, ambiguous
  • 6. shape Inside inconsistent with the outside Intensive (OMA’s approach in CCTV to proportionately increase volume and envelope by using large voids, holes, etc) Melnikov House
  • 7. shape Exists in the material world, unlike form, which can be abstract, theoretical Evidence of the effect of entropy in architecture. Buoyant, must float
  • 9. “A shape is hole in a thing it is not. People look through them or from them, and not necessarily at them.” (Carl Andre) (As contrary to a form/massing)
  • 11. shape is hieroglyph = “Shapes can be interpreted as hieroglyphics; incomprehensible, yet their stubbornly figurative and symbolic character wants to be deciphered.” (Aureli)
  • 12. Architecture and Content, Aureli Urban scene did not take the object of architecture. Monumentality is being brought back into focus, particularly after 9/11 Contemporary architecture divided into shapers and movers. One side bound to the super rational (movers) and the other, free (shapers)
  • 13. Herzog and De Meuron Richard Meier Shapers? mover?
  • 14. -isms neo-classicism – romanticism – realism – symbolism – impressionism – post-impressionism – cloisonnism – synthetism – art deco – fauvism – cubism – maximalism – minimalism – post- minimalism – orphism – futurism – synthetism – expressionism – vorticism – suprematism – neo- expressionism – dadaism – surrealism – tachism – lyrical abstraction – constructivism – deconstructivism – rationalism – critical regionalism – regionalism – blobism – modernism – neomodernism – postmodernism – classicism – neo-classicism – romanticism – realism – symbolism – impressionism – post-impressionism – cloisonnism – synthetism – art deco – fauvism – cubism – maximalism – minimalism – post-minimalism – orphism – futurism – synthetism – expressionism – vorticism – suprematism – neo-expressionism – dadaism – surrealism – tachism – lyrical abstraction – constructivism – deconstructivism – rationalism – critical regionalism – regionalism – blobism – modernism – neomodernism – postmodernism – classicism – – romanticism – realism – symbolism – impressionism – post-impressionism – cloisonnism – synthetism – art deco – fauvism – cubism – maximalism – minimalism – post-minimalism – orphism – futurism – synthetism – expressionism – vorticism – suprematism – neo-expressionism – dadaism – surrealism – tachism – lyrical abstraction – constructivism – deconstructivism – rationalism – critical regionalism – regionalism – blobism – modernism – neomodernism – postmodernism – classicism – urbanism
  • 15. -isms blobism – architecture in which buildings have an organic, amoeba-shaped, bulging forms critical regionalism – an approach to architecture that strives to counter placelessness and lack of identity in modern architecture by utilizing the building’s geographical context deconstructivism – is a development of postmodern architecture that is characterized by ideas of fragmentation, an interest in manipulating ideas of a structure’s surface or skin, non rectilinear shapes which serve to distort and dislocate some of the elements of architecture, such as structure and envelope
  • 18. -isms blobism – architecture in which buildings have an organic, amoeba-shaped, bulging forms critical regionalism – an approach to architecture that strives to counter placelessness and lack of identity in modern architecture by utilizing the building’s geographical context deconstructivism – is a development of postmodern architecture that is characterized by ideas of fragmentation, an interest in manipulating ideas of a structure’s surface or skin, non rectilinear shapes which serve to distort and dislocate some of the elements of architecture, such as structure and envelope
  • 19. Vitra Design Museum, Frank Gehry
  • 20. UFA-Palast in Dresden by Coop Himmelb(l)au
  • 21. -isms “Following the defeat of other types of false-consciousness, including functionalism, organicism, realism, pragmatism, supermodernism, mi nimalism, populism and utopia, there is nothing left to be had except a sublimation of all such residue, that is, an autistic and self- referential universe made up of fragments and drifting babbles, incapable of transmitting any sense. This is a universe nurtured by the tired regimes of words and meanings that, beyond their evident hermeneutic paranoia, do not propose any new ideas”
  • 22. -isms |Questions| Do notions of –isms now propagate new architectures or are they simply pedagogical means to classify an otherwise unclassifiable assembly of forms and shapes? Pertaining to pedagogy, what is good design and how does/should one teach it? Shapes or forms? Both?
  • 23. what am i? mover or shaper? Libeskind: I like Zaha: I am driven by deconstructivism deconstructivism also!
  • 24. what am i? mover or shaper? Peter Eisenman: I like deconstructivism, and conceptualism
  • 25. what are we? Diller Scofidio + Renfro: floating shape We like conceptualism too!
  • 26. what am i? Norman Foster: I go for Blobism and Frank Ghery: I favor Blobism and Structural Expressionism/Late Modernism Deconstructivism /High-Tech Architecture
  • 27. what am i? Niemeyer: I have breathed modernism Rem Koolhaas: I like Conceptualism and Deconstructivism
  • 28. architectural optimism Envisions a world in which the architect can reappropriate spaces without having to rely on the intellectual taboo of the difficult and their many responsibilities to society, technological resources, program, and the moral blackmail of utopia NO MORE ISMS! But then….architectural optimism is yet another ism |Questions| Would an architectural thesis devoid of any major ‘ism’ and speculation, be as acceptable as any ‘minimalist’, monolithic ‘shape’ architecture now being executed by the most renown architects? There has been a teaching about visual representation in architecture schools; “A drawing has to speak itself.” Does a building have to speak itself about what “ism” it is? As an architect, do you expect for the public to interpret architecture and understand how its form is driven other than experiencing by just looking at its shape?
  • 29. what architecture is really about Somol suggests that we need to pay attention to what architecture is really about – not the false image provided by diagrams, logos, software, installation, mappings of urban realities, etc, or the intellectual data.
  • 32. shift Shift from the mapping-fetishism of the 1990s to a new shape-fetishism in the zeros of the new millennium Value in large shapes lies in their superficiality, emptiness, nothingness
  • 33. content Today the content of the easy contributes to an economy of information that, behind the mythology of accessibility, the ordinary, the spontaneous, and the self-organizing, hides an unconvincing ideological and political opacity. Koolhaas, Herzog & de Meuron, Jean Nouvel, Toyo Ito, Diller + Scofidio, MVRDV and all of their followers – is pure content, or contenthood, as Fried might say today. Also: EXCESS OF CONTENT = LACK OF SENSE
  • 34. OMA
  • 35. Herzog & de Meuron
  • 39. MVRDV
  • 40. form – object to form-index Rudolf Wittkower, Colin Rowe, or Peter Eisenman = difficult form or form-object Present ‘shape architects’ = form- index
  • 41. Aureli’s conclusion We must concentrate on the idea of form, determining the specific sense of it for each case, in such a way as to salvage it from its own already tired and self-referential drift into content.

Editor's Notes

  1. So if you were to take all the isms out of architecture, what we would be left with would be plain shapes.
  2. Minimalist art was trying to be better than theatre in terms of dealing with the real. However, I do not really see the point of doing that, since we are dealing with two different art types, one not really less deserving of attention and respect than the other.
  3. Agree very much with this quote, and Koolhaas emphasized this in his most recent lecture.
  4. A shape carries with it an embedded symbolic meaning, even though not expressly linguistic as set by the grammatical structure of a language. In this case, a language of architecture. Some sort of ism.
  5. Distinction a bit blurred, because some movers, like Peter Eisenman, has become kind of a shaper, and everyone cannot deny the influence of some kind of ism in their lives.
  6. These two examples show how two people can produce very different architecture using the same ism, making it kind of difficult to separate what is object/form, versus what is shape sometimes.
  7. Given the present state of architecture, we can say that its content consists in the precision with which architectural form replicates the low-resolution of information (in other words, our reality), obliterating the condition and the convention of its form-objecthood.Koolhaas, Herzog & de Meuron, Jean Nouvel, Toyo Ito, Diller + Scofidio, MVRDV and all of their followers – is pure content, or contenthood, as Fried might say today.
  8. Therefore, “difficult form” which has embedded in it all of the formal architectural theory of the past 50 years – positively symbolized by the likes of Rudolf Wittkower, Colin Rowe, or Peter Eisenman – is founded on the belief that it is necessary to construct a complex “dispositif” for form, a whole system of virtual objects to support it and which are proof of its existence: a diagram of its own constitutional process.
  9. Interesting conclusion, because for most of the article I thought he would make the case that we are on the right track. Then, suddenly, he says the contrary – that we should be careful with shapes and remind ourselves of forms and their importance also.