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Liquid Monumentality: a Search for Meaning

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Liquid Monumentality: a Search for Meaning Liquid Monumentality: A Search for Meaning by David Takacs A thesis presented to the University of Waterloo in fulfilment of the thesis requirement for the degree of Master of Architecture Waterloo, Ontario, Canada, 2011 © David Takacs 2011 AUTHOR’S DECLARATION I hereby declare that I am the sole author of this thesis. This is a true copy of the thesis, including my required final revisions, as accepted by my examiners. I understand that my thesis may be made available electronically to the public. ii ABSTRACT Contemporary architecture suffers from an acute malaise: it has lost its sense of meaning, and in turn, its sense of significance. In our world of economy and utility—the liquid world—architecture can only allude to a higher purpose, a feigned declaration of its inability to contend with the current state. Yet this was not always the case. For thousands of years everything from the minutest of details to the greatest of narratives found their expression in architecture, and specifically, in a culture’s understanding and application of monumentality. The monument embodied the spirit of its times, and in its near-immortality provided a refuge for the loftiest of hopes and dreams. While it may appear that words like immortality and spirit are at odds with the ceaseless and constant change of the globalized world, change is not a new concept of our era. Since the beginning of history monumental architecture tempered its solidity with an implicit appreciation for the transience it sought to overcome. Liquid Monumentality reconstructs this dialectic of permanence and change in an attempt to answer one question: is the monumental still relevant in our liquid age? iii ACKNOWLEDGEMENTS I initially wrote a few fairly standard paragraphs for my “acknowledgements”. In truth, it was one of the first things I did. It seemed like something I could easily get out of the way while stuck in a state of terror at beginning my thesis in earnest. I then read John Maxwell Hamilton’s Casanova Was A Booklover and realized I had it all wrong. I would like to acknowledge the person to whom this thesis is dedicated—my Mother. Without her I would be nothing, or at the very least, certainly not the person that I happily am today. Thank you so much for everything you have done and continue to do for me. I am deeply indebted to the efforts of my friend and mentor, Dr. Robert Jan van Pelt. You have taught me how to be both a better thinker and a more complete human being. I once said that you are the smartest man I know, to which you replied I should meet more people. That was almost six years ago, yet my opinion has only increased. This thesis owes much to you. If this final text is any closer to the realm of great writing than the cellar of mediocrity from where it came, it is only thanks to your dedication. To my advisors, Professor Philip Beesley and Dr. Anne Bordeleau, thank you for your invaluable insights. I could not have hoped for a better collection of scholars to aid me in my studies. The early outlines of this thesis took shape under the watchful eye of Professor Beesley, a tireless individual who has done much to shape my perception of architecture over the years, while Dr. Bordeleau shared many pertinent references that form the core of this thesis and offered thoughtful feedback at key moments. I cannot overlook the contributions of my external examiner, George Baird. I consider myself extremely fortunate to have received criticism and commentary from such a distinguished architect and theorist who provided an important point of departure for my own explorations. Finally, thank you to the many people not mentioned by name who assisted me along this journey. There are countless individuals for whom I am forever grateful. iv For my Mother, my limitless fountain of support v TABLE OF CONTENTS ii AUTHOR’S DECLARATION iii ABSTRACT iv ACKNOWLEDGEMENTS v DEDICATION viii LIST OF ILLUSTRATIONS xiii PREFACE 1 INTRODUCTION LIQUID MONUMENTALITY 11 THE BEGINNINGS OF MONUMENTALITY 23 IN THE PURSUIT OF AN IDEAL 40 PSEUDO-MONUMENTALITY AND THE ENLIGHTENMENT TRAP 56 A MODERN MONUMENT 74 INSTRUMENTALITY VERSUS MONUMENTALITY 82 THE MASS ORNAMENT 88 ARCHITECTURE AND TIME 97 THE POST-MONUMENTAL 106 CONCLUSION 111 NOTES 120 BIBLIOGRAPHY vii LIST OF ILLUSTRATIONS PREFACE 1.1 “Ichnographia” or Plan of the Campus Martius. Giovanni Battista Piranesi. From Ficacci, xii Giovanni Battista Piranesi: The Complete Etchings. INTRODUCTION 2.1 Eiffel Tower. Gustave Eiffel. From Le Corbusier, Urbanisme. 2 2.2 A Bill-Ding-Board for the National Football Hall of Fame; Centre Georges Pompidou; and 3 Guggenheim Bilbao, 1967, 1971–77, and 1997. Venturi, Scott Brown, and Associates; Renzo Piano and Richard Rogers; and Frank Gehry. From Baudrillard, Mass Identity Architecture: Architectural Writings of Jean Baudrillard. 2.3 Monument. Robert Venturi. From Venturi, Scott Brown, and Izenour, Learning from Las Vegas. 4 THE BEGINNINGS OF MONUMENTALITY 3.1 Painted Temple, Al ‘Uqair, model. Iraq Museum, Baghdad. From Giedion, The Eternal Present: 11 The Beginnings of Architecture. 3.2 Great Pyramids of Giza. From Ancient Classic Landscapes, http://courses.cit.cornell.edu/ 13 lanar524/exinfo.html. 3.3 Agora of Ancient Athens. From Bacon, Design of Cities. 14 3.4 Dome of the Pantheon. From Giedion, Architecture and the Phenomena of Transition: The Three 16 Space Conceptions in Architecture. 3.5 Fresco from the Villa of P. Fannius Synistor at Boscoreale. From The Metropolitan Museum of Art, 17 http://www.metmuseum.org. 3.6 St. Jerome in His Study. Albrecht Dürer. From Strieder, Albrecht Dürer: Paintings, Prints, 19 Drawings. 3.7 Le Thoronet Abbey, West and South Cloister Galleries. From Heald, Architecture of Silence: 20 Cistercian Abbeys of France. 3.8 Chartres Cathedral, South Elevation. Georg Dehio and Gustav von Bezold. From Dehio and 21 Von Bezold, Die Kirchliche Baukunst des Abendlandes vol. 4. IN THE PURSUIT OF AN IDEAL 4.1 The Ideal City. Luciano Laurana. From Wikipedia, http://www.wikipedia.org. 23 4.2 Tempietto. Donato Bramante. From Murray, Bramante’s Tempietto. 25 4.3 Colossus of Rhodes. Maarten van Heemskerck. From Luijten and Veldman, Maarten van 26 Heemskerck Part II. 4.4 Tower of Babel. Pieter Bruegel the Elder. From Siepel, Pieter Bruegel the Elder at the 27 Kunsthistorisches Museum in Vienna. 4.5 Plan of the Capitoline Hill. Michelangelo Buonarroti. From Argan and Contardi, Michelangelo 29 Architetto. 4.6 Diagram of Sixtus V’s Rome. Giovanni Francesco Bordino. From Bacon, Design of Cities. 30 4.7 Villa Rotonda (Piano Nobile and Elevation/Section). Andrea Palladio. From Palladio, The Four 33 Books on Architecture. 4.8 Plan of Palmanova. Vincenzo Scamozzi. From Wikipedia, http://www.wikipedia.org. 35 4.9 Place Royale and Place Louis-le-Grand. From Dennis, Court & Garden. 37 PSEUDO-MONUMENTALITY AND THE ENLIGHTENMENT TRAP 5.1 Saline de Chaux, Vue Perspective de la Forge. Claude-Nicolas Ledoux. From Ledoux, 40 L’Architecture, Edition Ramée. viii 5.2 Cenotaph for Newton (Version with Armillary Sphere and Version with Stars in the Sky). Étienne- 42 Louis Boullée. From Vogt, Boullées Newton-Denkmal, Sakralbau und Kugelidee. 5.3 Escaliers. J. N. L. Durand. From Durand, Précis of the Lectures on Architecture. 45 5.4 The Architect’s Dream. Thomas Cole. From Truettner and Wallach, Thomas Cole: Landscape into 46 History. 5.5 The Professor’s Dream. Charles Robert Cockerell. From Royal Academy of Arts Collection, http:// 47 www.racollection.org.uk. 5.6 A Bird’s-eye View of the Bank of England. John Soane (drawn by Joseph Gandy). From Lukacher, 48 Joseph Gandy: An Architectural Visionary in Georgian England. 5.7 Palace of Soviets, 1931–33. B. M. Iofan. From Adkins, Naum Gabo and the Competition for the 51 Palace of Soviets, Moscow 1931-1933. 5.8 New Berlin. Adolf Hitler and Albert Speer. From Balfour, World Cities: Berlin. 52 5.9 Third Empireand Marxist non-Aryan. Osbert Lancaster. From Lancaster, Cartoon History of 54 Architecture. A MODERN MONUMENT 6.1 Elasticity. Umberto Boccioni. From Coen, Umberto Boccioni. 57 6.2 Airplane and Railroad Station, with Cable Cars and Elevators on Three Street Levels. Antonio 58 Sant’Elia. From Caramel and Longatti, Antonio Sant’Elia: The Complete Works. 6.3 Interior of the Crystal Palace. Joseph Paxton. From McKean, Lost Masterpieces. 61 6.4 AEG Turbine Factory. Peter Behrens. From Anderson, Peter Behrens and a New Architecture for 63 the Twentieth Century. 6.5 Metallurgical Factory, View of Furnaces. Tony Garnier. From Daidalos vol. 4. 65 6.6 Palais pour la Société des Nations. From Rowe and Slutzky. Transparency. 67 6.7 Casa del Fascio, Como. Giuseppe Terragni. From Eisenman, Giuseppe Terragni: Transformations, 70 Decompositions, Critiques. 6.8 Millowners Association Building. Le Corbusier. From GA vol. 37. 72 INSTRUMENTALITY VERSUS MONUMENTALITY 7.1 Sao Paolo Sé, 2002. Andreas Gursky. From Gandolfi, Spectacular City: Photographing the Future. 75 7.2 The Monuments of Passaic. Robert Smithson. From Sobieszek, Robert Smithson: Photo Works. 76 7.3 The Continuous Monument: An Architectural Model for Total Urbanization. Superstudio. From 79 Van Schaik, Exit Utopia: Architectural Provocations 1956–76. 7.4 AT&T Building. Philip Johnson and John Burgee. From Johnson and Burgee, Philip Johnson/ 80 John Burgee: Architecture 1979–1985. THE MASS ORNAMENT 8.1 Ricola Factory Building. Jacques Herzog and Pierre de Meuron. From El Croquis vol. 84. 83 8.2 Swiss Museum of Transport. Annette Gigon and Mike Guyer. From El Croquis vol. 143. 85 8.3 Institut du Monde Arabe. Jean Nouvel. From El Croquis vol. 65/66. 86 MONUMENTALITY AND TIME 9.1 Columbian Exposition, Panama Pacific Exposition, and The Course of Empire.
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