Introduction to Management, Practice and Law

Introduction to Management, Practice and Law Part 1: Poetry in Architecture Part 2: Poetics of Movement with the analyse of the Mons train station designed by Santiago Calatrava. Bodson Nancy Part 1: Poetry in Architecture “Architecture is more than a science of rule and compass. It is a science of feeling more than of rule, a ministry to the mind, more than to the eye.(…) No man can be an architect, who is not a metaphysician. All the abuses in some degree can be prevented if attention is paid by our architects. All unity of feeling (which is the first principle of good taste) is neglected; we see nothing but incongruous combination: we have pinnacles without height, windows without light, columns with nothing to sustain, and buttresses with nothing to support (….) ` The streets of our cities are examples of the effects of this clashing of different tastes; and they are either remarkable for the utter absence of all attempt at embellishment, or disgraced by every variety of abomination. We shall consider the architecture of nations as it is influenced by their feelings and manners, as it is connected with the scenery in which it is found, and with the skies under which it was erected; we shall be led as much to the street and the cottage as to the temple and the tower; and shall be more interested in buildings raised by feeling, than in those corrected by rule. We shall commence with the lower class of edifices, proceeding from the roadside to the village and from the village to the city. John Ruskin, "The poetry of Architecture" Cottage near la Cité, Val d'Aosta, 1838 Petrarch's Villa; Arquà.—1837 Old English Mansion. 1837 Introduction to Management, Practice and Law Poetry in Architecture, Pg 1 Poetry is the art of using words on a specific ways that allows people to get some feelings through this combination of words. Poetry in architecture is the art of using specific architectural language through forms, volumes, materials and colours that will allow people to get some feelings from it. Written poetry can also be seen as a place created by the poet. You visit this place when reading the poem. The place of the poem is not the environment it describes but a place from which you can see things you cannot from elsewhere. Every time you visit it is the same place but being a place you find new things by looking in a different direction. When standing in front of a building of a specific culture we can sense ourselves in relation to the world in which it belongs. When architecture enables new views that affect what or how we see there can be poetry. See is used in its widest sense: understand, find, project, regard, determine, examine, experience, interpret. Vitra Hous, Herzog & de Meuron, Switzerland MAM MuseumPaulo Mendes de Rocha + Metro Arquitetos Associado, Brazil Introduction to Management, Practice and Law Poetry in Architecture, Pg 2 I was born and raised in Belgium. Belgium is a small country but has always been playing an important role in International Architecture: Victor Horta and Henry Van de Velde contributing to the birth of Art Nouveau style, the extended development of Art deco, and the modernism after the second world war represented by the work of Henri Van de Velde, Huib Hoste or Marcel Leborgne. It is also commonly said that "Belgian have a brick in the belly", illustrating their strong commitment of owning and building their own house. Palais Stoclet, Josef Hoffman, B Maison de la Radio, Josef Diongre, B Tassel House, Victor Horta, B Art History Institute, H van de Velde, B Residential villa, Huib Hoste, B Residential villa, Marcel Leborgne,B Introduction to Management, Practice and Law Poetry in Architecture, Pg 3 However, until late 90's, Belgium was a country with remarkable architecture buildings buried into a chaotic urbanism. Having the cities crossed over by trains racks only contributed to city centres facing many deteriorated buildings. All surroundings of the rails were deprived of any aesthetic preoccupation, were falling apart and impoverished. It was also unsafe to walk around these areas at night. Also, concrete social housing and residential towers were sprouting out of nowhere in the city centers of Brussels, Antwerp, Liege. It is only at the end of the 90's that Belgian ushered to plan massive urbanism plans. Improving train station surroundings became a priority. North station area 1998, Brussels, Belgium North station area under redevelopment 2001, Brussels, B South station area 2001, Brussels, Belgium Strangely, I didn’t intend becoming an architect at this time. I was 17 and never travelled. I was extremely naïve and this naivety was making me very modest. I was certainly not thinking of being able to make a (good) change in the Belgian chaotic urbanism. I believed the role of an architect was not stopping at the creation of successful houses or buildings. The role of an architect was also to transform the face of the cities. At this time, working on smaller scale was something I believed more manageable and enjoyable. I was really interested to create interiors that would stimulate people and give them a way to get a new experience. The early work of Philippe Stark greatly influenced me. His vision on hotel industry was new at the time and his use of scenographic style into interiors was something I absolutely worship. Finally, someone was transforming hotel industry. Going to an hotel was not about having just a place to stay overnight but part of an experience. I always found it important to experience things and help people to go trough this process. Experiencing helps to raise questions into somebody’s mind and go further in the discovery of the self. Introduction to Management, Practice and Law Poetry in Architecture, Pg 4 It is only when I started travelling extensively that my interest for architecture grew bigger. Discoveries cities like Venezia, Firenze, Roma and the Amalfi Coast was a delight after having lived in what a called “grey brick and concrete environment”. These cities were bringing feelings of satisfaction and admiration. It was clear at this stage that architecture could bring poetry and than picturesque added to the poetry of architecture. The way buildings, cities set into their environment and natural surroundings was key to bring poetry in architecture. The unity found in these cities was providing a strong feeling about them. These cities had been carefully planned over centuries and the design unity only helped to maintain this admirative feeling. Every single building seemed to interact perfectly with the others. The unity in the design helped to see the city as a whole instead of seeing it in several separate blocks. Borromini or Palladio were obviously Poets-Architects and observing the palaces or churches they designed always brings strong emotional feelings, mix of melancholy, romantism and admiration . Other city discovered at this time was Paris. The unity of Haussmann buildings and splendor of some of the buildings near the seine river made me become a huge admirer of this city. Again, I was founding poetry in the city. Piazza, Venice, Italy Piazza Di Spagna,Rome, Italy View from Notre Dame, Paris, France Unfortunately, this enjoyment of Poetry in Architecture is stopping as soon as entering cities suburbs and withness how badly architects deal with the social housing system in the 60’s (HLM). Why did it seem impossible for architects and governments of the post war 20th century to deal with housing development? Why did we become so bad as urban planners? Introduction to Management, Practice and Law Poetry in Architecture, Pg 5 "You need to live Architecture and travel to become a good architect. Books won't teach you the real thing" was what Jean Nouvel replied to me when asking him for some advices to succeed in my studies. I couldn't agree more. Without having travelled, I wouldn't have the same vision of the world and architecture, developed the same curiosity. After receiving my degree, I left Europe for Boston. Living in the United states for a year radically changed the opinion I had about architecture, the world and myself. Contrary to Belgian people, American believed everything is possible and that you can manage to succeed in everything as long as you try. This ambition is visible in their cities, buildings and talks. Also, architects are much more respected and honoured across the Atlantic. In Belgium, it is almost seen as something wrong to be ambitious. Belgians tend to be very modest about what they accomplish. Is it because of its strong socialist history or lack of nationalism? Belgium is a country that had issues between its cultural differences for decades. How would Belgian develop a strong nationalism in its troubled history? Flat Iron, Daniel Burnham, NYC, United States Empire State Building, William F. Lamb , NYC, US Chrysler Building, William Van Alen , NYC, US Introduction to Management, Practice and Law Poetry in Architecture, Pg 6 After having lived in the United States for a year, I returned to Europe and worked in Paris for about 8 years. I began working for Cartier and followed up with LVMH, hotel and residential industry. I began travelling extensively thanks to my work and developed a strong curiosity of foreign cultures and I also became more tolerant towards them. To witness what other cultures managed to build, the materials and technologies only raised more interest in architecture and building process. Working as an interior architect was not fulfilling me anymore and I increasingly became aware of the need to go back to University to become an architect.

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