The Idea of the Primative Hut in Architectural History Free

Total Page:16

File Type:pdf, Size:1020Kb

The Idea of the Primative Hut in Architectural History Free FREE ON ADAMS HOUSE IN PARADISE: THE IDEA OF THE PRIMATIVE HUT IN ARCHITECTURAL HISTORY PDF Joseph Rykwert | 240 pages | 29 Dec 1981 | MIT Press Ltd | 9780262680363 | English | Cambridge, Mass., United States On Adam's House in Paradise, Second Edition | The MIT Press Rykwert's book, first published inis the architectural history of an idea: the hut. The author is an established authority on architecture and ideas, and he embarks on an excursion through five centuries of thought "in order to show how the notion of a first house right because it was first The implications of a quest for the origins of the hut is, in effect, an attempt to describe the archetypal hermit's dwelling. But the story is far more complex, and Rykwert leads the reader on a dazzling perhaps overwhelming survey of names and notions, from the famous Corbusier, Gropius to the obscure, which is nearly everyone else to the average reader: Blondel, Cesariano, Laugier, Lodoli, Milizia, Nisan, Paoli, Perrault, Semper, Villalpanda. And there asides from thinkers like Seneca, Vico, Rousseau, and Ruskin, followed by a grand summary of Vitruvius, On Adams House in Paradise: The Idea of the Primative Hut in Architectural History original architectural theorist of ancient Rome. Rywkert concludes with an essential look at ritual and the formation of the cultural mind on conceiving the hut. This is a complex and informative book. The Idea of the Hut The book is a quest for principles, not for an archaeological object, a search for meaning not technique. As Corbusier acknowledged reviewing all of the designs of the ancient world: Look at a drawing of such a hut in a book on archaeology. Here is the plan of a house, the plan of a temple. There is no such On Adams House in Paradise: The Idea of the Primative Hut in Architectural History as a primitive man; there are only primitive means. The idea is constant, potent from the very outset. Rykwert further notes that the search for the hut is a search for not what has been lost but for what cannot but be lost. The hut is not the memory of a object but of a state of mind or consciousness, adduced not by archaeology but by identifying "ceremonies and rituals by people some still call primitive. We are seeing glimpses of this primitive ceremony and ritual all the time, across the centuries. Perhaps the key to architecture, let alone the design of the hut, is naturalness. A direct line can be drawn between the ideals of Transcendentalists like Thoreau and the naturalness evoked by the primitiveness of Frank Lloyd Wright. The 18th-century French architect Marc-Antoine Laugier explained it this way: If architecture is to please through imitation, it must imitate nature, as do the other arts. Let us therefore see if the first hut made by man was a natural object; whether the human body may serve as a model for the orders; and finally whether the orders are an imitation of the hut and of the human body. Laugier reflects the notion that the human body was the basic model for the column in architecture. The column is fundamental to ancient architecture, be it Egyptian, Greek, or Roman, expressions of aesthetics versus utility, where no other interest in architectural principles is relevant. Francesco Miliizia extended this view to one of seeing the hut as imitative of trees and overhanging branches, a view that would long remain in vogue, later interpreting the Gothic cathedral's arches as such. Not until Chapter 5 does Rykwert take up the beginning of architectural thinking with the Roman Vitruvius. Vitruvius anticipated all of the later discussions about principles, even the fundamental issue of whether culture and its fruits, such as architecture was the consequence of a fall or whether the fall was a consequence of culture. As Rykwert notes, there is a "radical ambivalence implicit in all stories about the origins of techniques and civilization. These are epitomized by Genesis versus Prometheus. To Stoic thinkers like Seneca and Poseidonius Vitruvius was a Stoicphilosophy and the arts emerge in eras of decadence and are not self-evident in periods when nature is the guiding principle. The arts evolve from the consciousness of need, and from observation of animals as example, and then the addressing of the needs. Hence philosophy and the arts, indeed, civilization itself, are a product of leisure that emerges after the satisfaction of needs. One might say, alternatively, that they emerge in decadence. Juan Bautista Villalpanda attempted to reconcile Vitruvius with Genesis, equivalent to the familiar project of reconciling reason and revelation. The significant biblical archetype he had in mind was the Temple of Solomon. Restoration of the Temple could benefit from the principles of Vitruvius, thought Villalpanda, though the process denigrated medieval models, such as the cathedrals. The Meaning of the Hut To Rykwert, the centuries-old debate on origins reasserts the interrelationship between ritual and the purpose of architecture, specifically the central place of the hut. For the hut is always conceived of has having been inhabited by god or hero; most commonly it is a rite of building huts which in some way resembled or commemorated those which ancestors or heroes had built at some remote and important time in the life of the tribe. And in every case they incarnate some shadow or memory of that perfect building which was before time began: when man was quite at home in his house, and his houses as right as nature itself. Rykwert identifies a prototype story in Ovid's MetamorphosesBook 8. Here are presented an elderly couple, paragon of virtues, Philemon and Baucis. Their hut is made sacred, transformed into a temple, and the couple made holy, transformed into trees on the temple grounds, to be cared for and remembered forever. Assembling other Greek myths of rituals involving huts, such as those of Apollo and Delphi, Rykwert identifies etiological myths associated with festivals, underworld descents, rites of passage, and rites of purification such as On Adams House in Paradise: The Idea of the Primative Hut in Architectural History scapegoat. He links them to structures like caves, lairs, huts, temples, sanctuaries, tents, and booths. The hut of Romulus, the Palatine hut in Rome made shrine, is rich in sign and ritual. In the Succot Festival originating in Phoenician and Semitic culture and which had its Roman counterpartRykwert brings together the evidence of huts, equinox, the Hosana procession of palms, Mosaic passage rites, and the scapegoat ritual to demonstrate that the hut is a fundamental motif. The examples point to a common thread: rites practiced by a number of peoples, Greeks, Romans, Jews, Egyptians, Japanese, all involve either a "primitive" hut being built ritually -- and at seasonal intervals - or a hut deliberately built in a "primitive" style for analogous ritual purposes. And what are these rituals? They are, says Rykwert, a "cosmogonic attempt to renew time by reinstituting the conditions which were 'in the beginning'. The rites are an identification of self and hut, and of hut and earth. Huts are, from every viewpoint, of "unalterable value In huts or their equivalent take place the cosmic liturgy of all peoples, their differences obliterated and their selves made one, whether in the hut of Jewish and Christian ritual or the hut of the Japanese tea ceremony. The "primitive" hut is the human projection of caves, bridal chambers, and the womb of the Mother, of Mother Earth. Thus the debate of five centuries can be resolved: the hut is indeed divinely inspired but imperfect by human skills. Architecture can evolve those skills but in the process remove us from the closeness and palpability of divine inspiration. Psychology offers the analogy of children's "enclosure" games, wherein children instinctively play at the possession of enclosed spaces -- whether "found" or "made," whether cave or tent. The ambivalence of these social games of children -- of exclusion and inclusion, of terror and pleasure -- are ultimately the primordial ambivalence of the child towards the mother as exclusion On Adams House in Paradise: The Idea of the Primative Hut in Architectural History terror authority versus inclusion and pleasure womb. It is an ambivalence of past and future, of life and death, and ambivalence we never escape or transcend. The return to origins is a constant of human development and in this matter architecture conforms to all other human activities. The primitive hut -- the On Adams House in Paradise: The Idea of the Primative Hut in Architectural History of the first man -- is therefore no incidental concern of theorists [but reflects the] essential meaning of all building for people. How to build and why has been the question across the ages, and if to build then what to build but the hut? The hut is the pattern, a pattern that must be in some place which, Rykwert says, "I must call Paradise. And Paradise is a promise as well as a memory. If there be such a thing as "deep eremitism," then the hut is part of it, and Rykwert's scholarly and probing study of the hut as archetype would be one of its documentations. The Primitive Hut - Wikipedia Sign up for LibraryThing to find out whether you'll like this book. Juan Bautista Villalpando. Home Groups Talk More Zeitgeist. I Agree This site uses cookies to deliver our services, improve performance, for analytics, and if not signed in for advertising. Your use of the site and services is subject to these policies and terms. En route, with wry wit and charm, Rykwert singes every generation of architectural theoreticians back to Vitruvius, but he manages to illuminate their efforts and their immolations.
Recommended publications
  • Laugier Vs Durand: Revisiting Primitive Hut in the Classical Architectural Discourse
    YEDİ: SANAT, TASARIM VE BİLİM DERGİSİ KIŞ 2016, SAYI 15: 111-120 WINTER 2016, ISSUE 15: 111-120 YEDİ: SANAT, TASARIM VE BİLİM DERGİSİ Laugier vs Durand: Revisiting Primitive Hut in the Classical Architectural Discourse Ece KÜRELİ * ........................................................................................................... Abstract Finding an origin of architecture describes a process of inquiry which embodies itself in the term of ‘primitive hut’. This inquiry starts with Marcus Pollio Vitruvius from the antiquity and evolves into skepticism and rationalism of the Enlightenment Age. Quatrémere de Quincy, Viollet-le-Duc, William Chambers, Jacques-François Blondel and Claude Nicolas Ledoux, who were the important figures of the era, discussed the question of architectural origin differently. However, Marc-Antoine Laugier and Jean-Nicolas-Louis Durand, another two important figures of the Enlightenment, developed different aspects to the question with regard to their arguments on developmental process of the primitive hut. Their different viewpoints require a further investigation since these two 18th century French architectural theoreticians have fictionalize their objectives of ‘ideal architecture’ and ‘true beauty’ from the metaphor of the primitive hut. Keywords: Origin of Architecture, Primitive Hut, The Enlightenment, Laugier, Durand. Laugier Durand’a Karşı: Klasik Mimari Söylemde İlkel Kulübeyi Yeniden Ziyaret Özet Mimarlığın kökenini bulmak, antik dönemde Marcus Pollio Vitruvius ile başlayan ve kendini ‘ilkel kulübe’
    [Show full text]
  • 1 Questions in Architectural History 1 (Late 18Th – 19Th Century) Faculty: Christopher Cowell, Mary Mcleod, Reinhold Martin T
    Questions in Architectural History 1 (Late 18th – 19th Century) Faculty: Christopher Cowell, Mary McLeod, Reinhold Martin Teaching Fellows: Caitlin Blanchfield, Benedict Clouette, Samuel Stewart-Halevy, Robin Honggare, Alireza Karbasioun, Elliott Sturtevant, Ife Vanable. ARCH A4348 Wed 11am-1pm / Avery 115 (Cowell) Fall 2018 This two-semester introductory course is organized around selected questions and problems that have, over the course of the past two centuries, helped to define architecture’s modernity. The course treats the history of architectural modernity as a contested, geographically and culturally uncertain category, for which periodization is both necessary and contingent. The fall semester begins with the apotheosis of the European Enlightenment and the early phases of the industrial revolution in the late eighteenth century. From there, it proceeds in a rough chronology through the “long” nineteenth century. Developments in Europe and North America are situated in relation to worldwide processes including trade, imperialism, nationalism, and industrialization. Sequentially, the course considers specific questions and problems that form around differences that are also connections, antitheses that are also interdependencies, and conflicts that are also alliances. The resulting tensions animated architectural discourse and practice throughout the period, and continue to shape our present. Each week, objects, ideas, and events will move in and out of the European, North American, and colonial non-West frame, with a strong emphasis on relational thinking and contextualization. This includes a historical, relational understanding of architecture itself. Although the Western tradition had recognized diverse building practices as “architecture” for some time, an understanding of architecture as an academic discipline and as a profession, which still prevails today, was only institutionalized in the European nineteenth century.
    [Show full text]
  • J>S~--<-R:...L..:..Kjff~+
    Washington University ERes Cover Sheet Article Title: R)' j( Wer± .:Illi. Dune j n.) w\l.U'1Y\ ­ AUthor:-----J>S~--<-r:....L..:..kJff~+-------- Source Title:--=Ih-~ ,\)ahClY)j L:;:)\LLnn Vol.: _ Issue: _ Date: _ pages:-P~ -3,6) Warning Concerning Copyright Restrictions The copyright law ofthe United States (Title 17. United States Code) governs the reproduction and distribution ofcopyrighted material. Under certain conditions specified in the lawt libraries and archives are authorized to reproduce materials. One ofthese conditions is that the reproduction not be "used for any purpose other than private study, scholarship, or research." Any person who copies or re-distributes this material in any way inconsistent with Title 17 and its "fair use" provisions may be liable for copyright infringement. I Order in Building • Catalogues and recipes • Skeptics, critics, and romantics • The Beaux-Arts and the Ecole Polytechnique • Imitation of the primitive hut • The end of metaphor • Return to sources """" fP2 ~11r; 3 For much of the twentierh century the words "academic" and "classical" have been rerms of abuse-or at least of disapproval-among artists, particularly when they were linked. They implied stale routine, submission to outworn rules for which universal validity had once been claimed.! In architecture these rules were associated with the five orders of columns. During the sixties and seventies there came a renewal of interest, not in the long-despised and long­ forgotten rules but in the outward show of classicism, as a protest against the naked economy of commercialized modernism. In spite of the periodic appeals to return to an "order," a "canon," fustian classicism had long been opposed to an elegant and exhilarating modernism.
    [Show full text]
  • Symbolic Space
    ( l. I ·'"l t I l ·-·"/ r.-",, SYMBOLIC SPACE FrenchEnlightenment Architecture and Its Legacy ., L., 'I i I L ...! _,_,...,.._ ....z_·_ ,...J THE UNIVERSITY OF CHICAGO PRESS Chicago and London THE NEOCLASSICAL INTERLUDE On the other hand, champions of neoclassicism, who mine the univnsal qualities of its outlook, as found, for example, in the provocative C!msi­ r-r ----.7---_- cism ls Not a Style ( 1982), edited by Demetri Porphyrios, feel no pressing need to satisfy Schapiro's charge to the architectural historian. - 4 - If neoclassical architecture is to be considered within the context of its time, then it will not be the universally powerful aura that its forms L---~ evoke across the centuries that will uniquely fix our attention but rather The Neoclassical Interlude the specificity of its outlook, sandwiched between the Baroque and the Rococo, which preceded it, and the historicism and eclecticism that fol­ lowed. Indeed, late eighteenth-century neoclassical architecture was a The legacy of neoclassic-al architecture, as we have seen in the preceding cultural interlude with multiple layers of meaning so specific to the era chapter, reached from Boullce to Louis Kahn. Emil Kaufmann was cor- that it requires a historical study for us to understand how it was in­ ' rect in entitling his study "From Ledoux to Le Corbusier," for a similar tended and perceived. I propose three ways to consider late eighteenth­ impulse to what he called "autonomous architecture" marked both the century French neoclassical architecture. One involves the creation of a late eighteenth-century neoclassical era and the twentieth-century mod­ new grammar for architecture, a concern that in many respects parallels ernism commonly termed the "International Style." 1 Repeatedly one the narrative aspect of symbolic space considered in Chapter 2.
    [Show full text]
  • Primitive Original Matters in Architecture
    Primitive Original matters in architecture Edited by Jo Odgers, Flora Samuel and Adam Sharr First published 2006 by Routledge 2 Park Square, Milton Park, Abingdon, Oxon OX14 4RN Simultaneously published in the USA and Canada by Routledge 270 Madison Ave, New York, NY 10016 Routledge is an imprint of the Taylor & Francis Group, an informa business © 2006 selection and editorial matter: Jo Odgers, Flora Samuel and Adam Sharr; individual chapters: the contributors This edition published in the Taylor & Francis e-Library, 2006. “To purchase your own copy of this or any of Taylor & Francis or Routledge’s collection of thousands of eBooks please go to www.eBookstore.tandf.co.uk.” All rights reserved. No part of this book may be reprinted or reproduced or utilised in any form or by any electronic, mechanical, or other means, now known or hereafter invented, including photocopying and recording, or in any information storage or retrieval system, without permission in writing from the publishers. British Library Cataloguing in Publication Data A catalogue record for this book is available from the British Library Library of Congress Cataloging in Publication Data Primitive : original matters in architecture / edited by Jo Odgers, Flora Samuel and Adam Sharr—1st ed. p. cm. Includes bibliographical reference and index. 1. Architecture—Language. 2. Architecture—Terminology. 3. Language and culture. 4. Architecture—Psychological aspects. I. Odgers, Jo. II. Samuel, Flora. III. Sharr, Adam. NA2543.L34P75 2006 720.1’4—dc22 2006005423 ISBN10: 0-415-38538-5
    [Show full text]
  • BUILDING ABOUT the BODY : Architecture As Dress
    BUILDING ABOUT THE BODY : Architecture as Dress a BUILDING ABOUT THE BODY : Architecture as Dress By Jessica Jean Carlson A thesis submitted in partial fulfi llment of the requirements for a Master of Architecture MONTANA STATE UNIVERSITY Bozeman, Montana November 2011 i approval : APPROVAL of a thesis submitted by JJ Carlson This thesis has been read by each member of the thesis committee and has been found to be satisfactory regarding content, English usage, format, citation, bibliographic style, and consistency, and is ready for submission to The Graduate School. Dr. David Fortin Approved for the School of Architecture Steve Juroszek Approved for The Graduate School Dr. Carl A. Fox iii © copyright by JJ Carlson 2011 All Rights Reserved statement of permission to use : In presenting this thesis in partial fulfi llment of the requirements for a master’s degree at Montana State University, I agree that the Library shall make it available to borrowers under rules of the Library. If I have indicated my intention to copyright this thesis by including a copyright notice page, copying is allowable only for scholarly purposes, consistent with “fair use” as prescribed in the U.S. Copyright Law. Requests for permission for extended quotation from or reproduction of this thesis in whole or in parts may be granted only by the copyright holder. JJ Carlson November 2011 v author’s note : This book is meant to be viewed in a two page spread format. follow these directions in Adobe Acrobat: view tab >> page display >> Two-Up view tab >> page display >>
    [Show full text]
  • Mnemosyne and the Wax Tablet
    Oz Volume 12 Article 2 1-1-1990 The Writing of Architecture: Mnemosyne and the Wax Tablet Jeffrey Hildner Follow this and additional works at: https://newprairiepress.org/oz This work is licensed under a Creative Commons Attribution-Noncommercial-No Derivative Works 4.0 License. Recommended Citation Hildner, Jeffrey (1990) "The Writing of Architecture: Mnemosyne and the Wax Tablet," Oz: Vol. 12. https://doi.org/10.4148/2378-5853.1190 This Article is brought to you for free and open access by New Prairie Press. It has been accepted for inclusion in Oz by an authorized administrator of New Prairie Press. For more information, please contact [email protected]. The Writing of Architecture: Mnemosyne and the Wax Tablet Jeffrey Hildner The concomitant sensations second edition of Marc-Antoine Laugier's awakened in us by the direct Essai sur l'arcbitecture of 1755. In this perception of a work of art ... are . canonical image of architecture's mythic only realized through memory. origins, a woman seated amidst broken Memory therefore 'does not fragments of classical architecture assume in art a subsidiary or an­ gestures with apparent graceful authority cillary function as happens in nor­ to the primitive hut's idealized (relcon­ mal life, but is, itself, Art, in which struction formed in accordance with all the various arts are united "principles ... founded on simple nature.' '6 without residua. Ancient myth­ Four trees are columns; four branches are ology saw this clearly, in a way, beams; branches above " inclining when it imagined that Mnemosyne towards each other, meet at their highest was the mother of the Muses.' point" (Laugier 12) and form a roof ter­ - Antonio RussP minating in triangular openings at two ends (a differentiation of the otherwise In the search for nature - for the "true" equal four sides- or quadripartite space origin and order of things - we will find - which we may say constitutes the in architecture the origins of memory and "original" example of formal hierarchy).
    [Show full text]
  • Understanding the Thickness of Appearances from the Primitive Hut to Parametric Architecture
    Int. J. Architect. Eng. Urban Plan, 26(1): 1-13, June 2016 Research Paper Sacred surfaces: understanding the thickness of appearances from the primitive hut to parametric architecture S. Yahya Islami1,* Assistant Professor, School of Architecture, College of Fine Arts, University of Tehran Received: 1 May 2015, Revised: 30 October 2015, Accepted: 25 November 2015, Available online: 29 June 2016 Abstract When thinking about traditional Iranian architecture, one imagines extensive ornamental patterns that adorn almost every surface of mosques and other prominent buildings. Yet, many theories of architecture since the beginning of twentieth century have considered ornamentation a superficial and superfluous layer. But, are these ornamental surfaces superficial and can they be removed so easily? This paper uses a qualitative research methodology based on theoretical cross examination and critical analysis to highlight the significance of surface and appearances in architecture and argue that formulating a strategy to adorn architecture is in fact the generating gene of every architectural movement, from Modernism to Postmodernism and even to Parametricism of recent times. By setting up a philosophical and a theoretical discourse about the notion of surface and the various metaphors used in architectural theory, this paper concludes that from the woven walls of first architectural spaces to the clothed walls of modern times, surfaces have played a sacred role in architecture, and rather than being superficial barriers that mask reality, they are indeed the very materials with which architects demarcate space and create new aesthetics. Keywords: Architectural theory, Surface, Ornament, Modernism, Postmodernism, Parametricism. 1. INTRODUCTION qualities. However, in how to produce “delight” there have always been different opinions.
    [Show full text]
  • MASTER of SCIENCE in ARCHITECTURE
    Four Eighteenth and Nineteenth Century Thinkers on the Truthfulness of Architecture A Thesis submitted to the Division of Research and Advanced Studies of the University of Cincinnati In partial fulfillment of the requirements for the degree of MASTER of SCIENCE in ARCHITECTURE In the School of Architecture and Interior Design of the College of Design, Architecture, Art, and Planning 2012 by Florentina C. Popescu BA, Academy of Economic Studies, Bucharest, Romania, 1998 BA, University of Bucharest, Bucharest, Romania, 2002 MA, University of Pittsburg, Pittsburg, Pennsylvania, 2004 Committee Members: John E. Hancock (Chair) Patrick Snadon 1 Abstract In modern architectural discourse, true architecture has been associated with the removal of ornament, simplicity, or transparency. While the importance of truth in modern architectural theory has been extensively documented, this study disentangles the internal complexity of the notion of architectural truth. It does so by examining those architectural practices that were rejected in the name of truth, and the terminology that designates their characteristic untruthfulness, in order to trace contrasting notions of truth in the history of architectural theory. It looks at four architectural theorists of eighteenth and nineteenth century Europe: Marc Antoine Laugier, Carlo Lodoli, Augustus Welby Northmore Pugin, and John Ruskin. There were two distinct notions of truth that coexisted in these authors and in eighteenth and nineteenth century architectural literature. The first relates truth to necessity, and requires the exclusion of those elements that were redundant relative to the structural or material logic of the building. The second refers to the ways to ascertain the truth of the architectural display, and requires the exclusion of those elements that interfered with the understanding of the building.
    [Show full text]
  • Was the Primitive Hut Actually a Temple?
    WAS THE PRIMITIVE HUT ACTUALLV A TEMPLE? THE IMPACT OF RECENT ARCHAEOLOCICAL EXCAVATIONS ON THE ARCHITECTURAL THEORY OF THE PRIMITIVE HUT lvica Brnic Excavations ofCöbekli Tepe (earliest phase between 12,000 and 11,000 years old). Drawing after a reconstruction by Fernando Baptista in '"Building Cöbekli Tepe'", National Geographie (June 2011) Up until now, the birth of permanent architecture has always been See Patrick Nuttgens, Die associated with the so-called Neolithic revolution, meaning the gradual Geschichte der Architektur (Berlin: Phaidon Verlag , transition after 9,000 BC from a hunter-and-gatherer society to a set­ 2010), 16. tled way of life based on agriculture and livestock breeding. 1 Since the 1995 excavation of a site of worship of monumental 2 Klaus Schmidt, '"Cöbekli dimensions on the mountain of Göbekli Tepe, 2 this thesis cannot Tepe - the Stone Age be sustained anymore, or at least not exclusively. The oldest parts of Sanctuaries: New Results of ongoing Excavations with a this site were built between 10,000 and 9,000 BC, which is before the Special Focus on Sculptures Neolithic shift from an economyofforagers to one ofproduction. The and High Reliefs'", Documenta size of the site, defined as a cult site, is evidence of a highly organized Praehistorica 34 (2010). society. 3 3 The Vitruvian theory of the origin of architecture, which argues See Klaus Schmidt, Sie bauten die ersten Tempel architecture's derivation from a shelter, had been scientifically 32 bolstered by the earlier excavations of the larger Neolithic settlements (Munich: DTV Deutscher 4 Taschenbuch, 2008); Klaus ofJericho and <;atalhöyük.
    [Show full text]
  • Type and Typology in Architectural Discourse
    BAÜ FBE Dergisi Cilt:9, Sayı:1, 3-18 Temmuz 2007 Type and typology in architectural discourse Yasemin Đ. GÜNEY * Balıkesir University Faculty of Architecture and Engineering, Department of Architecture Ça ğış BALIKES ĐR Abstract Typology is the comparative study of physical or other characteristics of the built environment into distinct types. In this paper, the historical transformation of type and typology concepts since the Enlightenment has been examined in three developing stages based on methodological and historical interpretation: The first conceptualization developed out of the rationalist philosophy of the Enlightenment, the second relates to the modernist ideology and the last to Neo-Rationalism after the 1960s. The study aims to highlight the significance of the concepts of type and typology that are so rich in tradition and so important for intellectual history, and that could aid in enhancing our understanding of architecture within its historical and socio-cultural contexts. A discussion of type and typology can promote a way of looking at the built environment, that can not only help us recognize and discover basic types but also enhance our ability to see the differences as well as similarities among architectural artifacts by recognizing the invisible connections between them. Keywords: Type, typology, architecture, architectural theory, architectural history. Mimarlık kuramlarında tip ve tipoloji kavramları Özet Tipoloji, nesneleri fiziksel ya da di ğer özelliklerine dayanarak tiplere ayırmak için yapılan çalı şmalara verilen addır. Tarihte ilk kez Aydınlanma Ça ğı’nda önem kazanan tipolojik yakla şım, günümüzde mantıksal-matematiksel bilimlerle sosyo-kültürel bilimler arasında, ortak amaçları çerçevesinde ileti şimi sa ğlayabilen önemli bir bakı ş açısı konumundadır.
    [Show full text]