Sorted by date | |||
page094from Building Ideas
Today”, this split is actually brought
about by a false opposition between purposeful and purpose-free objects. He was
writing in response to the call by Adolf Loos for an architecture that was free
of “unnecessary” ornament, but this definition of what was necessary in the
design of a building was seen by Adorno as fundamentally problematic. He described
how the two issues were historically connected – such that ornament often
derived from construction – and, by the same token, how supposedly “pure”
technical objects soon acquired symbolic significance for their users. In the
latter case this would apply to large scale structures, like the Eiffel Tower
or the Brooklyn Bridge, and on a smaller scale this can also be seen in people’s
relationships with their cars or computers. The implications of Adorno’s essay
for this discussion concern the notion of architectural expression, the fact
that even though one might attempt to design a purely functional building, one
can’t avoid the question of meaning. As soon as one produces something, of whatever
description, one unavoidably enters the realm of representation. To use a
linguistic analogy to express this idea more simply, one cannot separate what
is said from the manner of the saying. If architecture, thus, is inevitably
caught up in the complex web of cultural “languages”, then questions of
interpretation become more important, in order to understand the full potential
of design.
Having
established that architecture should be seen as a “language” of expression, as
well as a means of providing useful enclosure, the final three chapters of this
book set out possible strategies of interpretation, as a means of bridge to gap
between the two cultures mentioned above. All three involve some compromise
between the two tendencies described already, in terms of the “objectivity” of
science versus the “subjectivity” of art, although in this chapter the debate
leans somewhat towards the latter.
Phenomenology
is a philosophy that considers the individual’s experience – although with the
ultimate aim of producing a solid basis for knowledge – and as such has proved
particularly influential in architecture, due in large part to its emphasis on
perception and cognition. The term itself has been the subject of considerable
confusion, as different philosophers have made use of it in different ways, and
although
|
|||
|
|||
|