Resolution and Tension

Resolution and Tension Mies van der Rohe and the Myriad Dualities of Architecture by Andrew Ryan Gleeson Resolution and Tension Mies van der Rohe and the Myriad Dualities of Architecture by Andrew Ryan Gleeson Harvard GSD M. Arch. II Thesis Spring 2013 Advisor: Jorge Silvetti Published by LULU © 2013 Andrew Ryan Gleeson for Cover Image is a sketch by Mies van der Rohe of an auditorium concept. Font: Windsor (Lt and Regular) (Popularized by Woody Allen) ~ The symbol above, called a tilde, will be used at various times in the text to connotate complementary and contradictory dualistic relationships. I learned of this usage in an essay on neuro-dualities by J.A. Scott Kelso titled Metastable Mind in the newly published book, Cognitive Architec- ture (editors; Hauptman, Deborah, and Neidich, Warren). Page. 119. 2 This book is dedicated to J.B. and my Mother. Acknowledgements: The biggest thanks goes to the pa- tient few who helped edit this thesis. They improved it greatly beyond my own abilities: John Murdock, Jorge Silvetti, Blair Kamin, and K. Michael Hays. I also want to thank the kind en- couragement of: Franz Schulze, Fritz Neumeyer, Claire Zimmerman, Thomas Leslie, Wes Jones, Krzysztof Wodiczko, my family and my M. Arch II. class (I couldn’t have asked for a better group of friends). Also in memory of my Grandmother and Detlef Mertins. 3 Table of Contents Part I: Resolution and Tension---------------------------------7 Introduction-----------------------------------------------------------------------------9 The Struggle of the Architect-------------------------------------9 Apollonian and Dionysian Aesthetcis-------------------------10 Why Study Mies? ------------------------------------------------------12 1. Mies van der Rohe and the Material Spirit--------------------15 2. Program and Structure-----------------------------------------------------31 3.Tradition and Innovation-----------------------------------------------------41 4. Protection and Connection------------------------------------------------57 5. Grounding and Flotation----------------------------------------------------71 6. Glass: Clarity and Obscurity---------------------------------------------79 7. Freedom and Constraint---------------------------------------------------89 Conclusion to Part I--------------------------------------------------------------99 4 Table of Contents Part II: Mies After Mies --------------------------------------103 Introduction--------------------------------------------------------------------------105 1. Less is a Bore: The Postmodern Critique-----------------------106 a. Robert Venturi--------------------------------------------------------- 107 b. Charles Jencks-------------------------------------------------------123 c. Stanley Tigerman--------------------------------------------------125 2. More is More: Second Wave Postmodernism-----------------129 a. Rem Koolhaas--------------------------------------------------------129 b. Peter Eisenman-----------------------------------------------------132 c. Frank Gehry-----------------------------------------------------------134 3. Yes is More: Mies in the Contemporary Scene-------------137 Conclusion to Part II------------------------------------------------------------139 Bibliographical Notes to Part II-------------------------------------------141 Bibliography-------------------------------------------------------------------------143 5 Part I: Resolution and Tension Introduction 7 8 Introduction Introduction ~ The architect struggles against both Architecture is neither a purely ra- nature (which is a conceptual chaotic tional nor purely spiritual art. It is force that negates will) and internally a complex mix, whose manifestation competing Appolonian and Dionysian -- by degrees-- is expressed either in desires. They are conflicted on how resolution or tension. Balance occurs to express the ideal, and are also when dualing contradictory forces are compromised by the ability of their resolved. Tension results from irreso- hand to express the idea inside their lution in disproportion. Intentional mind. Once brought out into the open exploitation of these fundamental du- through a schematized drawing -- a alities --to achieve either balance or sum total of all internal conflicts -- imbalance -- ultimately deconceals an the idea passes through the screen inherent power within architecture. of extrinsic pressures that mold and shape it further. The laws of science, In architecture there are myriad dual- gravity and technology limits expres- ities with differing hierarchies. Some sion. Clients, who often reify the sta- are foundational, existing at the heart tus quo, chime in further with sub- of architectural production. Certain jective opinions. Material availability dualities are nested within others, and labor skill determine its physical and some cannot be conceptualized outcome. Budget limits all of these separately from other complimentary things. dualities. Duality is, therefore, not a mode of reduction; it is a method of The architect expresses both these establishing and trying to address the internal and external struggles in intricate web of forces in architecture their buildings. Architecture is thus that negate each other through con- a manifestation of opposing extrinsic tradictory agendas. and intrinsic tensions on many levels (fig. 1). The Struggle of the Architect ~ The architectural object is the resul- The architect is in a tug of war battle tant of these pressures, which com- between spiritual and pragmatic con- promise its ideal form. The ideal cerns. They have not resolved them- cannot be created in a real world selves to these competing desires. just as certain experiments in phys- He/she chose this profession because ics cannot be performed outside of a engineering is too constrictive and fictional vacuum. To take this meta- fine art is too liberating. An architect phor further, the extrinsic and intrin- thus needs discipline and freedom to sic pressures are the friction that acts perform. This battle expresses itself upon the ideal and limits its total free in myriad ways throughout history in expression. Architecture is thus an the architecture one creates. expression of compromise and frus- tration. Throughout history, our will Introduction 9 fig.1 has pushed against the limited possi- Apollonian and Dionysian bilities of our real world. An architect Aesthetics with knowledge of this duality, within and without, is better equipped to Architecture is the synthesis between cope with and anticipate the effects the real and the spiritual. The real is of reality. They can manipulate the the body of elements that influence compromises to achieve reconcilia- a building towards its practical func- tion, or keep the duality unresolved tion; it is the rationalist necessity or and exploit inherent tensions. the objective aims of built works. The spiritual is that in a building which is unrelated to, and unsupported by, necessity. The spiritual is borne of a 10 Introduction desire to create something that tran- adulterated expression removed from scends the laws of practical reality. It the demands of corporeal constraints is the will to create beauty; to satisfy a (structure, program, gravity, client, deep unknowable longing. In theory, budget). the real is objective and the subjective is spiritual, however, the objective is Nietzsche writes that the Apollonian continuously tempered by the bias seeks out truth and regards its ex- of the individual. Conversely, when pression as symbolic of that truth. It subjectivity resonates with an almost seeks to eliminate contradiction and universal approval, or is validated in is thus inflexible: it is catholic. The time with age value, the notion of to- Apollonian disavows its temporary tal subjectivity can blur. The purely nature. Instead it often whole-heart- pragmatic is merely shelter; the pure- edly mistakes itself for an expression ly aesthetic is merely sculpture. of timelessness. Its aims are thus purely spiritual, even if they poetical- The aesthetic, spiritual element in ar- ly echo the diagram of the pragmatic chitecture can be self-reflexive, taking work (late Mies van der Rohe). cues from methods previously thought of as objective, rational and appropri- The Dionysian is aware of the subjec- ate. On the other hand, aesthetics tive nature of aesthetic expression. can run counter to the practicalities It is open to interpretation, and is of built work. These a-tectonic ges- aware that its perception will change tures seek to divorce the pragmatic with time. It acknowledges time and aims of a built work from its aes- may choose to celebrate temporality thetic aims. Objectivist aesthetics and the torrid nature of perception. are found in the expressive rational- Building materials are thus made ism of Louis Sullivan’s skyscrapers or with weathering in mind. The build- the pure structural diagram of Crown ing is not suspended in an ideal state: Hall by Mies van der Rohe, while Er- instead it has an intended lifespan. ich Mendelsohn’s Einstein tower or This very duality between the Apol- Frank Gehry’s Bilbao Museum repre- lonian and the Dionysian is denied sent blatantly subjective aims. by the former and embraced by the latter. With expressive rationalism, aesthetics take on an Apollonian desire to- Regardless of whether aesthetics are wards discipline and restraint. The Apollonian or Dionysian, they are al- work seeks a rhythm in accordance ways in contrast to the true demands with its own demands;

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