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page045from Building IdeasViollet-le-Duc, Lectures on Architecture, translate by Benjamin Bucknall, Dover, New York, 1987.
Sant’Elia and Marinetti, “Futurist Architecture”, in Ulrich Conrads(ed.), Programmes and Manifestoes on 20th Century Architecture, Lund Humphries, London, 1970.
Muthesius and van de Velde, “Werkbund These and Antitheses”, in Ulrich Conrads (ed.), Programmes and Manifestoes on 20th Century Architecture, Lund Humphries, London, 1970.
Richard Rogers, Architecture: A Modern View, Thames and Hudson, London, 1990.
Readings
Theodor Adorno, “Funcitonalism Today”, in Neil Leach (ed.), Rethinking Architecture, Routledge, London, 1997, pp6-19.
Peter Buchanan, “Nostalgic Utopia”, Architects Journal, 4 September/1985, pp 60-9.
Adolf Loos, “Orn... more ...
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page044from Building IdeasThis “renewal” of architecture, based on rational principles, was part of the same search for certainty that Descartes had inaugurated and, in response to Hegel’s prognosis of the death of the architect as artist, the engineer had now stepped forward to take over in this role. This was only one aspect of the reaction to Hegel’s challenge and another whole tradition will be considered in the following chapter. This will provide an alternative view of architecture and its status as a symbolic activity, with a meaningful place in society within a quite different philosophy of history – questioning the ideology of progress that drives the engine of technological innovation.
Suggestions for further reading
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page043from Building IdeasLike other writers of his time he produced a “universal history” from the origins of architecture in the “primitive hut”, but whereas Hegel had been interested in what buildings meant, Viollet simply concentrated on how they were built. With an emphasis on function and economy of means, all previous architecture was presented as rational – even classical Greek “ornament” was show to derive from construction. Whereas in his “Lectures” he followed a Hegelian chronology, in the Dictionnaire he used a more anatomical method – dividing up his subject into alphabetical sections, more easily, he maintained, to study its parts:
… because this form obliges us, if we might thus say it, to dissect separately in describing th... more ...
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page042from Building Ideasthe 1820s Hegel set out in a hierarchical sequence his version of the development of art. From architecture and sculpture, the two most “physical” of media, developed the progressively more abstract disciplines of painting, music and poetry. Whereas the last is the least reliant on sensory stimulation and is capable of expressing the most complex ideas, the first is seen as rather basic and clumsy, and only suitable for the notions of a more primitive culture.
Poetry in its turn must give way to science, as Hegel’s relentless progression of reason moves on to explain the world. As the metaphors and allusions give way to hard facts, the process of history is announced as complete. This system consigns architecture to... more ...
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page041from Building Ideasunderstanding. This historical method of conceiving and of describing his philosophy produces by implication a philosophical conception of history. In his later writings on this subject, where he specifically addresses this historical issue, he also proposes several other significant new concepts.
Besides the influential notion of the “spirit of the age” (or Zeitgeist) which grew out of his early philosophy, in the Phenomenology of Spirit he also addressed religion and its pivotal role in the development of both architecture and art. In the process of the Spirit’s gradual movement towards self-consciousness, religion is seen as an intermediate stage, beyond the primitive’s blind struggle for physical survival and prior to... more ...
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