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Why does Charles Jencks dislike Modernist architecture?
Introduction介绍
查尔斯·詹克斯认为现代建筑死于1972年的圣路易斯。我们通过现代建筑的荒芜破坏我们的城市，就像一些火星游客参观地球；我们以无私的感觉（现代建筑的死亡）参观考古遗址。就我而言，我支持查尔斯·詹克斯的观点。
Charles Jencks believes that modern architecture died in Saint Louis in 1972. We ruin our city through the desolation of modern architecture, like some Mars tourists visiting the earth; we visit archaeological sites with a sense of selflessness (The Death of Modern Architecture). As far as I'm concerned, I support the view of Charles Jencks.
如今，大多数建筑的制造方式与历史城市格格不入，与建筑师和社会格格不入。在经济领域，社会生产的公共福利性建筑缺乏资金，或是由资本主义制度出资，资本主义制度的垄断将产生巨大的投资和相应的巨大建筑。例如，五家航空公司和五家国际银行组成的财团欧洲酒店集团（European Hotel Group）拥有五家五星级酒店。这十家公司共同创造了一个整体，通过财务定义，它必须吸引公众的兴趣。如果这些经济体决定了结果的规模和可预测性，那么这些决定就加强了建筑变得如此无情的紧张感。在这个产品中，架构师的动机是解决一个问题，或者在开发人员的控制下赚钱。目前最大的变化是项目的规模，如酒店、车库、购物中心和大型房屋。对于任何类型的建筑，在环境质量下降之前，可以服务的人数都有一个上限。由于工作人员短缺和旷工，伦敦酒店的服务水平下降，导致旅游质量下降。大型建筑公司也是如此。这里的设计是妥协的，没有人可以控制整个工作从开始到结束，因为建筑必须快速和有效地生产的基础上成熟的公式。综上所述，今天的建筑既严酷又残酷。它们是开发商为了盈利而生产的。
Today, most of the buildings are manufactured in a way that is out of scale with historical cities and is alienated from architects and society. In the economic sphere, society produces buildings for public welfare that lack funds, or it was financed by a capitalist institution, and the monopoly of the capitalist institution will create huge investments and corresponding huge buildings. For example, the Penta hotel is owned by the European Hotel group, which is a consortium of five airlines and five international banks. Together, the ten companies created a whole, through financial definition, it must attract public taste. If these economies determine the size and predictability of the results, these decisions reinforce the sense of tension that building has become so ruthless. In this production, the architect's motivation is to solve a problem, or to make money under the developer's hands. The biggest variation is the size of the project today, such as hotels, garages, shopping centers and large houses. For any type of building, there is an upper limit on the number of people who can serve before environmental quality falls. Services at London hotels have fallen due to shortage of staff and absenteeism, so that it leads to lower tourism quality. The same is true of large construction firms. The design here is compromised and no one could control the whole work from start to finish because the building has to be produced quickly and efficiently based on the mature formula. To sum up, today's buildings are harsh and cruel. They are produced by developers in order to make profits.
人类的建筑活动与一定的社会、经济、政治和文化发展密切相关，建筑风格的形成和发展必须有其深厚的历史和社会根源。现代主义建筑是20世纪中叶西方建筑中占主导地位的一种建筑思想。现代主义的建筑思想诞生于19世纪末，20世纪20年代成熟，上世纪60年代风靡世界。其主要思想是摆脱传统建筑形式的所有束缚，大胆创造适应工业化社会要求的新建筑。其代表人物有沃尔特·格罗皮乌斯、勒·柯布西耶、雨果·阿尔瓦·赫里克·阿尔托、弗兰克劳埃德·赖特、路德维希·米斯·范德洛等。
Human construction activities are closely related to certain social, economic, political and cultural developments, and the formation and development of a style of architecture must have its profound historical and social roots. Modernism architecture is a kind of architecture thought which is dominant in western architecture in the middle of the twentieth Century. The architectural ideas of modernism were born in the late nineteenth century and matured in twentieth century 20s. It was popular all over the world in the 60s of the last century. The main idea is to get rid of all the shackles of traditional architectural forms, and boldly create new buildings which are adapted to the demands of industrialized society. Its representative figures are Walter Gropius, Le Corbusier, Hugo Alvar Herik Aaltuo, FrankLloyd Wright, Ludwig Mies van der Rohe, etc.
Modernist architecture represented the most powerful design and architectural education power in the world at that time. Through architectural practice and educational practice, it has broken through the traditional architecture, traditional design and traditional art education system which have kept people thinking for thousands of years, and established a new system. New architectural ideas, new construction principles and new architecture education system have been finally established. The emergence of modernist architectural thought has profound social, political, economic, cultural and technological background. In the sense of culture, the thought of modernist architecture is an important part of modernist cultural thought . From the beginning of twentieth Century to 1960s, modernism has almost become the mainstream culture throughout the world. It involves almost every corner of cultural ideology by its distinctive features such as revolutionary character, democracy, individuality, subjectivity, formalism, functionality, technicality, etc. As an important part of modernist culture, especially after World War II, modernism architecture has developed into the design style of internationalism, which has spread all over the world with irresistible force. In the history of human civilization for thousands of years, there is not any design style or architectural thoughts can be so extensive and profound influence, and can deeply change or continue to affect the human life style and living way.
Univalent form
For a general aspect of an architecture created around a simplified value, the term will be used. Undoubtedly, in terms of expression, the architecture of Mies and his followers is the most single formal system we have, as it uses a small amount of material and single right angle geometry (The Death of Modern Architecture). This reduced style is considered to be rational and universal. Mis said the boiler room was more important than the church and the pagan gods were ruled by architects in this area. Of course, Mies did not intend to present these propositions, but he cut short on the promise of formal values.
Architecture is regarded as the nature of a language. As in the past, schizophrenia was a fundamental form of schizophrenia, which was partially deep in tradition. In fact, in everyone's childhood, when crawling on the flat floor, people will sense normal architectural elements such as vertical gates. It is partially deep in a rapidly changing world, and its new tasks, new materials, functions, ideology, and new technologies are constantly changing. On the one hand, architecture is the same as spoken English; on the other hand, as modern art and science, it changes rapidly and deeply. In other words, from the very beginning, we learned the cultural signs that social groups, economic classes and real historical people have; modern architects do not spend much time studying all these special signs, but they try to design buildings for the public. Many people deny or conceal the social reality behind the building, because they are so insignificant. It seems that there is no one’s wish, and no one makes mistakes. As a social utopia, modern architects are a strange and neglected factor of change, because what we see is actually built for the ruling power of an established commercial society.
Some of the accepted classics of modern architecture are built for the clients of multinational corporations today. We can claim at the content level that the modern architecture is single and baseless. Architecture clearly reflects the important aspect of society, and it is worthwhile in terms of spirit and money. Excess money is spent on restaurants, hotels, and all of these commercial architectures. Public buildings and housing that represent public areas or local communities are being cut. With the triumph of the western consumer society and the decline of the eastern bureaucracy and state capitalism, the unfortunate modern architects did not express any exciting social content . If the building has to concentrate on lifestyle and public sphere, then when these things lose credibility, there will be a restoration process.
Le Courbusier
Ronchamp is well known for the design and construction of Le Corbusie, and the historical features of its buildings and the history of their predecessors do play an important part in Le Corbusier’s imagination . It was replaced by a Gothic Revival style of traditional architecture that was destroyed during the war in nineteenth Century. The design was finally approved by some special sessions.
Le Corbusier draws inspiration from several aspects of medieval architectures that include Gothic, Rome and native trends. Novelty can refer to specific things of time and place, and can also be referred to as universal objects in the classical sense. In the context of architecture, every building is new when it is first built; but when we talk about artistic creativity, this novelty is not what we mean. In this case, it means that in the case of Ronchamp Chapel, this is a new kind.#p#分页标题#e#
Ronchamp gives people a sense of order and peace of mind. In addition to the horizontal floor, people can hardly see the right angle or straight line in the true sense. However, everyone feels peaceful, and there are a lot of visitors. The building continues to be a place of pilgrimage, and it is obvious that the number of visitors is quite Catholic. They offer sacrifices to the altar in front of the image of the altar and kneel down to pray. It is the main church of the Uighurs. Here a man is inevitably overwhelmed by the power of the building itself and the harmony of peace. Ronchamp's interiors are impressive, but measurable space will certainly not be close to the great Gothic cathedral or Hagia Sophia Church. The highest point in the interior seems to be the connection of the southeast wall. There are no real sizes and figures, but it marks a very special structure, which may play an important role in height and volume. The walls do not actually have a bond; there is a space between them, and parts are made of prisms of various shapes and sizes. The two walls are fixed only by the floor, roof, and two horizontal pillars, wherein the lower door is a lintel. At the top of the door, the openings on the two panels are filled with clear glass, and the upper pillars are spaced apart. This long vertical window has very complex aesthetic features. This long vertical window has a very complex aesthetic function, which is the only absolute vertical line in the building. In addition to the other two more important frames, it is a strong stabilizer. Since the form of abstraction can be seen from both the interior and exterior angles, the combination serves as a link between the inner and outer spaces . Internally, it has most of the functions of Gothic windows and arcades, which emphasizes height and squareness. It transmits light directly, and has a closed curved surface and very complex reflection patterns. In buildings, the use of color is limited to the interior and exterior of the main doors, and to certain windows with black symbols.
In terms of structure and volume, a large number of irregularly distributed windows and white walls are filled with quiet light, which is relative but absolutely light of disunity . The outer shell of this building is bulky, and this lack of any shock and depression may be related to an indefinite reading of the surface, which is rigid or flexible, mass or weightless. This again compares with the fuzzy effect of Gothic structure, but the effect is not achieved in the same way.
Le Corbusier's research made him shocked by the acoustic components of the form field. An unbelievable maths and physics ruled this form, and their interdependence, solidarity and family spirit combine to form architectural expressions. This is a kind of phenomenon, as he said; it is as soft, subtle, precise and mysterious as acoustics. Whether it's on the basis of a statement or on the relationship between architecture and landscape, it is clear that he uses more than just a rough analogy. He surveyed the surrounding hills and valleys with instruments and in some way worked out a basic set of terrain proportions, and then applied it to his design . He tells us that psycho physiological processes are determined by the feeling of the program and the outcome of the judgment.
Le Corbusier was not primarily a mathematician, but his architecture represented a new mathematical law. For him, any mathematical attribute of his imagination and creativity should be appropriate to consider mathematical analysis and check consistency. In this case, this part of the creative process of mathematics is irrelevant. The building is mainly designed for meditation rather than for musical ceremonies. There are many historical examples that show that creativity in aesthetic art sometimes increases with time, which usually falls in the forces of physical power and wisdom. It can be said that Le Corbusier's greatest achievement is the hilltop chapel of Ron Camp, which combines several religious traditions. Its relationship with the landscape can be traced back to the Neolithic shrines in Western Europe. The unexpected novelty of the Church of Ronchamp may be that Le Corbusier has never fully attributed himself to democracy, but has retained an intuitive and even mystical component . The dialectic of his creativity, reason, and intuition flows in interaction.
Mies van der Rohe
The two most influential architects in Germany, the Mies van der Rohe and the Karl Friedrich Schinkel, are praised by the world for their orderly structure and purist form. Mis broke up with the neoclassical style in 1921, and his intention to show objectivity and clarity in the architecture remains consistent . The most important determinant is his idea of construction. He visualized the building through coherent processing of architectural elements. In this respect, Mies is moving toward multifunctional space more and more. Even if the trend was the most obvious in the works he had moved to the United States, the well-known Barcelona Pavilion could no longer be called a functional building. Although this trend has caused several debates in the German modern movement, the modernist architects determined by rationalism and the modernist architects related to functionalism have formed a mutual objection. After the war, Mies built a new national gallery in the name of German rationalism. Mies firstly invented a vast glass space in 1957. The source of its design reveals a rigorous rational way to form a overall objectivity.
Recently, German architecture has not only demonstrated again that there is only a thin line between neoclassicism and rationalism, but only a small step from critical reconstruction to textual reconstruction . For Mies, Berlin's task at hand is not just to accommodate the past art, and is a collection of a lot of good easel and sculpture. He tried to plunk for even the emergence of fresh methods of showing and experiencing art, and even the creation of new methods.
Beginning with the court building in 1930s, Mies gradually developed a unique picture of sculpture, painting, landscape and architecture. Some outstanding interior ideas were generated. The combination of difference and coherence is a reflection of the concept, technology and construction of human architecture. Mies holds that autonomy is not an isolated creation, but a self-image that embeds and reflects context. Individuals are understood to occur in social structures, economic structures, and ideological structures . For Mies, the power of architecture disappeared with the great separation of communities from the Renaissance, and great social changes took place from the end of nineteenth century to the beginning of twentieth century.
The Barcelona Pavilion displays its own version of Mies, which has a hybrid space structure. Mies refuses to apply colored pigments to the surface of the building, but uses the color only as an overall performance of constructional materials. He made floors, ceilings and separate walls; it is not a homogeneous color, but a homogeneous material such as wood, glass, plaster and marble . Since the early 1940s, he has been developing variable ground plans or universal spaces, and the main advantage is the ability to adapt to change.
The stage of Mies has no set script, and no goals have been executed. On the contrary, its extreme openness is expected to have dramatic events. Mies captures this vitality in the works, and he draws the life in the universal space. This is an open and lightweight space that can easily configure and reconfigure partitions, furniture, and equipment. In his diagram, he marks the edge of a box, a wavy line around the empty center, and the shape and character of an event remain uncertain. The wavy lines of Mies depict the possibilities of architecture and the potential of a variety of specific configurations.
Conclusion
As a continuation of architectural enlightenment, modern architecture is a natural heir. Modern architecture is the branch of modern painting and the modern movement of all art. But most of the buildings made today are not in accordance with the historical scale and are alienated from architects and society. The cultural elite of modernism always has the mission of saving the fallen humanity and reconstructing the human spiritual homeland; modernism is devoted to the great narrative and is devoted to the construction of humanistic ideals or social ideologies. In the pursuit of the spirit of the times on the road, the modernism architecture pioneers often conceal the individual role of architects, turn to the relevance of the structure change and building society, and try to explore the future development of the building in the class rights and social change ideas (The Death of Modern Architecture). They try to consider the role of the new building in shaping the times from sociological and political perspectives, and to demonstrate the legitimacy of the new building through this effect. Today's buildings are harsh and cruel because buildings are made by absentee developers who want to make profits. All in all, I support the view that modern architecture is gradually desolate.
Reference
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