The Tell-the-Tale Detail - by Marco Foscari
This written work speaks of the detail but also of ornament. I found a few important considerations of detail/ornament here:
- The story of a detail is in its: making, placing and dimensioning.
- Architecture is an art as well as a profession (sounds obvious but I think we forget this sometimes)
- Some words of Louis Kahn on the works of Carlo Scarpa:
In the work of Carlo Scarpa
Beauty
the first sense
Art
the first word
then wonder
then the inner realization of Form
the sense of wholeness of inseparable elements.
Design consults Nature
to give presence to the elements.
A work of art makes manifest
the wholeness of Form of the
symphony of the selected shapes
of the elements. In the elements
the joint inspires ornament, its
celebration.
The detail is the adoration of Nature
- Some other words by Louis Kahn:
The joint is the beginning of ornament
And that must be distinguished from
decoration which is simply applied.
Ornament is the adoration of the joint.
Anti-Object - by Kengo Kuma
I have not read the book in its entirety yet (don't worry, I'm not putting off design until I have) but so far I am digging his words on 'erasing' architecture.
Kuma begins by examining the work (and life) of Bruno Taut. He explains Taut's desire to "bridge the gap between matter and consciousness" that is to say he aspired for his works to be "grounded in reality [technologies of construction] yet 'miraculous' in character".
This can be made possible by design that eschews the widely adopted notion of architecture as objects. Kuma advocates for Anti-Objects and I see this as similar to Kahn's words of form as a "wholeness of inseparable elements". These elements are similar to particles that give form to matter rather than objects. It's a little tricky to explain. Here is an example of his work that speaks better to this than I can put into words:
Cafe Kureon by Kengo Kuma
With all this in mind I have begun designing for a Performing Arts Centre on the Little Norway site. But first, to revisit my thesis position and strategies.
Problem: Contemporary use of ornament rarely goes beyond the application of pattern to a facade system.
Position: Ornament, when acting as an integral part of the architecture, is capable of creating a unified design both inside and out.
Clearly a move away from 'restraint' but if this studio is to be an exploration of all possible avenues before thesis next year, why not test each option?
Now - how is this ornament decided on? As Vince asked me: "What is the filtration process to arrive at 'this' particular ornament versus another?"
Good question!
Strategy 1
Filtration of information to arrive at an appropriate ornamental language
Tactics (with a ton of questions):
- relate the ornament to the building program (too literal?)
- relate the ornament to the current site and surroundings (too literal?)
- relate the ornament to the site's significant history (too subtle? too disconnected from program? why one part of history over another?)
- relate the ornament to the site and program (a combination may result in less literal results...)
- relate the ornament to the program and history (another combination, but do they mesh well?)
- relate the ornament to the history and site (but then what makes it a Performing Arts Centre? Does it need to be easily identified as such?)
- relate the ornament to the history, site, and program (too much?)
For now, I have gone with a combination of Program and History, with a little bit of 'Site' but it's a stretch...
Performing Arts (I'm thinking music) + Aviation (Royal Norwegian Air Force) + Wind (take it or leave it)
Strategy 2
Identify the scales of operation for the ornament
Tactics:
- ornament to support the building (overall structure)
- ornament to condition space (acoustic paneling, for example)
- ornament to engage user (smaller scale parts that user comes in contact with)
Design of the ornament (Is this allowed? Design as a strategy? Probably not.)
Tactics:
- maintain a balance between subtle and literal iconography
- design with construction in mind, ornament as building block
- design with variability in mind, how does ornament change for various functions?
- apply materiality, colour, transparency, texture, etc. to selectively highlight or blur (fade?) the ornament
DESIGN
Keeping the module of ornament simple for now, cylindrical pieces reminiscent of organ pipes or wind chimes. Thinking of flattening them out to make them more elliptical - an aerodynamic aesthetic.
Entry 'Runway'
Ornament 'density'
Above: Interior Space - User Engagement
Below: Exterior
Circular vs. Slim Profiles
Still to do:
Look at specific precedents to Performing Arts Centres
Check out Complexity and Contradiction in Architecture - by Robert Venturi
More design iterations!
There is a lot to be said about distilling your ideas and it has begun to become more apparent as each review comes through. The first strategy is a bit loaded still as filtration still has some preconceived ideals from an architect's standpoint. This works with your overall position on ornament in architecture but it is not really clear if the binary coverage of inside and out is really holistic. Though there is unity in both dealing with ornament from a stylistic side, you cannot deny the variability of scale, circulation, experience, and lighting are not exclusive to simply inside or out alone. Again this is more of a nuanced discussion that could be more resolved in the design iterations.
ReplyDeleteThe second strategy begins addressing some of the points I presented earlier but that is why it begs the question if scale is something that fits within the larger framework of ornamental language. If it is not, then you will have to make a clear argument as to why it is autonomous from the first strategy.
I would agree with you in that the third strategy is less about strategic thinking and more about execution. That's like saying a strategy for a thesis pertaining to environmental sensitivity would be to "design a sustainable building" - it is tacit to the operation. Looking at your tactical discussion, it would seem that there is something in there that could establish HOW you would design the ornament with all those variables and connotations.
As for the design, I am not sure what to make of the work as it is discrete and separate from the building itself. A series of pipes tend to be integral to organs or building systems (i.e. churches or Piano's Pompidou for example) so to fulfill your mandate for design, it might be better to talk about exaggeration, highlighting, and allusions of functional elements as opposed to solely iconographic throwbacks. You do not wish to fall prey to Venturi's criticisms of modernity on this one!
The continuity in your design approach is evident however you may wish to find better ways to articulate the rationale behind the execution throughout the design work.