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Between Symbolism and Metaphor

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Between Symbolism and Metaphor JOURNAL OF ARCHITECTURE AND URBANISM ISSN 2029-7955 / eISSN 2029-7947 2014 Volume 38(4): 283–292 doi:10.3846/20297955.2014.999432 Theme of the issue “Tradition of symbolism in architecture” Žurnalo numerio tema „Simbolizmo tradicija architektūroje“ BETWEEN SYMBOLISM AND METAPHOR Saulius GECAS Studio WOA (workshop of open architecture), Via Ancona N.21 sc.A, int. 10, C.A.P. 00198 Rome, Italy E-mail: [email protected] Received 18 September 2014; accepted 15 December 2014 Abstract. The article provides a discussion of symbolic aspects and uses of metaphors in Massimiliano Fuksas architecture. Despite of the fact that his architectural projects are very different they are sculptural and abstract leading to ambiguous reflections. The author argues that each architectural project of Massimiliano Fuksas can be related to certain metaphors and level of symbolisation. His metaphors are often metaphors for our feelings, they are emotionally understandable and yet not so easy to name. The article is an attempt to expose and analyze them. Keywords: Massimiliano Fuksas, modernism, symbols, Le Corbusier. Symbolism – the art or practice of using symbols es- the various movements of our heart and of our un- pecially by investing things with a symbolic meaning derstanding; it is then that we experience the sense of or by expressing the invisible or intangible by means beauty” (Le Corbusier 1986: 1). of visible or sensuous representations: as Can something better be said about an Architects a: artistic imitation or invention that is a method work? of revealing or suggesting immaterial, ideal, or It was said by Le Corbusier – one of the brightest otherwise intangible truth or states and most active pioneers of modern architecture. b: the use of conventional or traditional signs in the No matter how much avant-garde or technologically representation of divine beings and spirits progressive architecture may be or how revolutionar- ily moving away from traditional aesthetical values Metaphor – a word or phrase for one thing that is used of the past; the words “spirit, emotions, heart and to refer to another thing in order to show or suggest beauty” have and always will be an architect’s essen- that they are similar, an object, activity, or idea that is tial qualities of excellence and creativity. used as a symbol of something else. Although the great Le Corbusier never directly Webster’s Dictionary wrote about metaphors and symbolism he basically alluded to deep spiritual emotions caused by the ar- chitects designed forms and shapes, which reflect in our Introduction personal subconscious universe, which is essentially a In the book “Towards a new architecture” Le Corbusier world of metaphors and symbols. wrote: It is virtually impossible to trace when and how “The Architect, by his arrangement of forms, real- symbolism and metaphors emerged in the architec- izes an order which is a pure creation of his spirit; by tural language. Perhaps symbols and metaphors in forms and shapes he affects our senses to an acute de- architecture appeared from the first steps of man’s gree and provokes plastic emotions; by the relation- creativity, when he “designed” his first shelter, cut ships which he creates he wakes profound echoes in down or left existing openings as the doors, or se- us, he gives us the measure of an order we feel to be lected the location of the fire place inside his living in accordance with that of our world, he determines space. Copyright © 2014 Vilnius Gediminas Technical University (VGTU) Press 283 http://www.tandfonline.com/ttpa 284 S. Gecas. Between symbolism and metaphor Nevertheless during the formation of the first prim- Philip Johnson coined the term “International Style” itive communities, commanders and leaders needed at an architectural exhibition in New York, at the a place of rest, or wanted the entire hut to stand out Museum of Modern Art in 1932. Refined, purified somehow by specific placement or size, or some kind and elegantly simple geometry has become the new of sign above his plank-bed or entrance to his house. concept of beauty. Ludwig Mies van der Rohe’s and Thousands of years before language, communica- Walter Gropius’s ideas brought from Bauhaus blos- tion was achieved by primitive architectural symbols somed in America and from there were exported back which had already shaped the environment and living to Europe, but with a different name and in different space of the primitive man. In modern terms – a raw quantities. aesthetic symbolic language already existed. However this techno – euphoria, utopia soon ran With the development of the work tools and the out of steam. After the decades of semi – military growth of communities the buildings increased as strength and super – rational, anonymous architec- well. Their architecture, together with more advanced ture, architects and clients became heart sick for more constructive solutions became increasingly sophistic- expressive, more character oriented ideas, inspirations ated and lush, the decor more detailed. The abundance and meanings. of certain materials began to represent the class and In 1945 Corbusier designed one of the most myster- power of individuals, which then moved on to repres- ious, symbolic and metaphor filled religious buildings enting the wealth and power of families, then clans, of all time; The Notre Dame du Haute with its love, then cities and eventually entire countries and regions. emotion and metaphor charged image had become a Together with evolution and development, and new symbol of modern architecture as a whole (Fig. 1). changing of empires, kingdoms and republics, slowly Eero Saarinen’s Trans World Flight Center at JFK over the millenniums and centuries in the mode of was commissioned in 1956, the client wanted this replication had modified styles and principles of ar- building to capture the “spirit of flight”, something chitecture. vivid and emotionally evolved. Architecture is not And at the beginning of the last century, in 1917 only rationality, technology and economic efficiency; after Marcel Duchamp exhibited his work “Fountain” that is only one half of architecture. International which was in fact a typical porcelain urinal, this av- style has ignored the other, perhaps more important ant-garde conceptual art overwhelmed and still con- emotional part of architecture for decades; the spir- tinues to influence the entire world of modern art, al- itual part of communication and sensuality. Time has most all traditional art rules and regulations had been proved that architecture has infinite space for an ar- broken or abandoned. At the same time the gateway to chitect’s self-expression and imagination, especially the unprecedented and unseen new world of unlimited when it comes to the world of metaphors. possibilities in art and architecture had been opened. Frank Lloyd Wright’s designed Guggenheim The free mind of the creator had been unleashed and Museum opened in 1959 in New York City (Fig. 2). The the new idea that everyone can be an artist was in- process took 16 years to move from concept to realiz- troduced. At the time in the world of architecture, ation, unfortunately neither the developer nor the ar- technical and engineering achievements strongly if chitect were alive to see it open. His “inverted ziggurat, not fundamentally changed the aesthetic orientations of architecture. Modernists like Adolf Loss, Giuseppe Terragni and especially Le Corbusier embraced and welcomed the new epoch of new aesthetics as an abso- lute liberation from any style or spiritual vagaries and eventually he proclaimed: style – it’s a lie! The aesthetic of rationalism rejected any historical or traditional symbolism, and emotional expression. Paradoxically, even at those times architecture was not able to escape symbolism, new symbols of avant-garde architecture became maritime liners, airplanes, cars, and finally a very clear and direct idea of Corbu – “The house is a machine for living in” (Le Corbusier 1986: 96) became very true during this time. Structures of glass and metal, rationalism and functionalism became acknowledged as a style after Fig. 1. The chapel of Notre Dame du Haut, Ronchamp Journal of Architecture and Urbanism, 2014, 38(4): 283–292 285 a b Fig. 2. Guggenheim Museum, New York a stepped or winding pyramidal temple of Babylonian again immersed architecture into a new, more abstract origin” (Drutt), was outstanding and extremely strange world of forms and shapes. Nevertheless architects still in the rigid and pale background of Fifth Avenue. Prior use metaphors and symbols as the points of reference. to the opening of the museum twenty-one artists We observe such a continuity in the works of not only signed a letter protesting the display of their work in world renowned architects like Zaha Hadid and Rem such a space. Today the Guggenheim Museum became Koolhaas, but also in the works of the new generation not only symbol of New York City, but also a symbol rising stars like Bjarke Ingels, Ma Yansong and others. of modern art as we know it. Society responded in a Today, however we can say that there is an absolute similar way to a bold and brave creator’s idea in Paris creative freedom, pluralism, democracy, which is lim- 60 years back in 1889. Through strife, misery and ulti- ited only by economics and common sense. Interestingly mately his own personal investments engineer Gustave enough, architecture affects us in the same way as it did Eiffel’s metal tower was build. Eventually the tower be- thousands of years ago; our emotional language of meta- came one of the most famous and romantic symbols of phors and symbols is more or less the same. Symbols the city and urbanism in all world. became buildings, buildings became symbols. The realization process of the Sydney Concert Hall The highest building or structure in any city be- was similarly shameful and offensive to that of Eiffel’s.
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