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PaperclipPerfector  1mo ago (text post)   28315 thread views

Culture War Roundup for the week of September 23, 2024

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I don't care one iota about the self actualization of architects or about Heidegger. Architects should be seeking to make beautiful, harmonious buildings.

Isn't there a certain tension here?

Why should architects care what you think if you don't care what they think?

Why should architects care what you think if you don't care what they think?

Because almost invariably the nonsense people object to is funded by the taxpayer. No one gives a shit some rich guy builds himself a shoe-box villa that has a garden that looks like a carton box.

People object to ugly public buildings, same reason as they object to shit on the street or buildings acting as mirrors and melting down the pavement. Yes, architects at times will build a concave sun-reflective glass facade that melts things.

They shouldn't.What they should do is flip the damn burger, and leave their artistic frustrations to 3D models no one cares to look at.

Because people have a responsibility not to shit up the urban commons. That's before we even get to questions about who is paying who's salary, which is a consideration I admit applies only to public buildings.

Whether I like it or not, I am forced to engage with the buildings that architects build. If architects build repulsive monstrosities, then I, along with however many thousands or millions of fellow poor souls live among the same buildings, have to be subjected to them daily. In contrast, even if I make mean comments about architects online, the architect will almost certainly not even be aware of my existence. Usually, when people’s actions greatly affect the lives of countless others, then we tend to think that they should take those others’ opinions into account.

Now, an architect might respond that he should be unconstrained by the ressentiment of the plebs when he is exerting his own will upon the built environment at massive scales. But if that’s how architects see themselves, then my relationship with them is most analogous to some Persian peasant massacred at the whims of Ghengis Khan’s ambitions. I won’t look fondly upon the Khan among the slaughter as Merv burns.

an architect might respond that he should be unconstrained by the ressentiment of the plebs when he is exerting his own will upon the built environment at massive scales.

This is roughly the position I would endorse, yes.

It's ironic that on the one hand Eisenman is being accused of being a socialist, and on the other hand we have multiple people arguing that Eisenman has a moral duty to uphold a certain traditional standard of beauty in the public commons, even if this runs contrary to the intentions of his private financial backers. Should we put all architectural decisions up to a public vote, to ensure that no buildings are ever constructed which the majority would find offensive? If I found the appeal to democracy to be persuasive, then perhaps I would be more likely to be a socialist! But I am not a socialist, and I have no particular fondness for democracy. I will celebrate any opportunity for an artist to carry on his work while unconstrained by the demands of mass taste.

As for Eisenman's work itself, it's maybe not perfectly aligned with my own taste, but it's also not nearly as grotesque as some of the people here are making it out to be. I think his House VI is quite lovely, although admittedly that's largely due to the juxtaposition of the structure with the environs rather than due to the intrinsic properties of the structure itself.

The building is meant to be a "record of design process," where the structure that results is the methodical manipulation of a grid. To start, Eisenman created a form from the intersection of four planes, subsequently manipulating the structures again and again, until coherent spaces began to emerge. In this way, the fragmented slabs and columns lack a traditional purpose, or even a conventional modernist one. The envelope and structure of the building are just a manifestation of the changed elements of the original four slabs, with some limited modifications. The purely conceptual design meant that the architecture is strictly plastic, bearing no relationship to construction techniques or purely ornamental form.

Consequently, the use of the building was intentionally ignored - not fought against. Eisenman grudgingly permitted a handful of compromises, such as a bathroom, but the staircase lacks a handrail, there is a column abutting the kitchen table, and a glass strip originally divided the bedroom, preventing the installation of a double bed.

"Quite lovely."

such as a bathroom

I absolutely love this delivery. My other same-energy example is the Russian Wikipedia page for the one-line poem "Oh, cover thy pale feet!" by Valery Bryusov inviting the reader to access the full text of the poem on Wikisource.

Why did you fail to quote the most important part?

The Franks, in Peter Eisenman's House VI: The Client's Response, claim that they nonetheless love living in such a poetic structure, which they inhabit with their children.

I think his House VI is quite lovely, although admittedly that's largely due to the juxtaposition of the structure with the environs rather than due to the intrinsic properties of the structure itself.

This is genuinely hideous.

There's no accounting for taste!

Something about man-made structures that appear to have been dropped in the middle of nowhere just really does it for me. I love the Viaduct Petrobras for similar reasons.

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