Arq . Vol 17 . No 1 . 2013 Criticism 2 Johnny Rodger Putting Holl And

2 arq . vol 17 . no 1 . 2013 criticism 1 1 Charles Rennie Mackintosh, rose detail from bookcase for Windyhill, 1901 Johnny Rodger Putting Holl and Mackintosh in multi-perspective criticism Steven Holl’s new building for the Glasgow School of Art stands across the street from Charles Rennie Mackintosh’s original. This paper questions the scope for relations between them. Putting Holl and Mackintosh in multi-perspective: the new building at the Glasgow School of Art Johnny Rodger The announcement that American architect Steven building, which might predispose it towards Holl had won the competition to design a new dialogue. The thesis in the present essay is that it is building for the Glasgow School of Art opposite the proto-modern aspects of Mackintosh’s work Charles Rennie Mackintosh’s original (built 1897– which play an important role in enabling the 1909), and the revelation of his plans to the public, contemporary user or designer, and Steven Holl in provoked plenty of criticism about the possible particular, to approach the building and engage relationship between the two buildings. Professor intimately with it. Holl seems to strive consciously William Curtis first wrote on the topic in the after all – if we are to take his writings as a manifesto Architects’ Journal almost a year from the for his built work – for a refinement of the notion of announcement, and his opinions on the relationship the ‘modern’. In one essay he writes of his own vision were forthright: ‘Rather than dialogue’, he argued, of architecture as: ‘there is a dumb lack of articulation in construction an attitude reaching toward the full sensation of those and material.’ A response came in the following issue earliest freedoms of modern architectural thought that of the AJ from David Porter, then Professor at the could take architecture beyond neo-modernities and Mackintosh School of Architecture. He disagreed post-modernities into a realm where ideas have no with Curtis, claiming that the new building will have boundaries – and the final measure of architecture lies ‘an extraordinary spatial richness’ and that ‘the in its perceptual essences – changing the experience of original sketch Curtis saw in Glasgow last December our lives.4 has progressed very rapidly’, for it was but an early But what are those proto-modern aspects in Charles stage in ‘a design strategy driven forward with a Rennie Mackintosh’s work, what does Holl mean by mixture of poetics and ruthless pragmatics: qualities ‘modern architectural thought’, and where, if that are singularly appropriate in this context, and anywhere, would the two find common ground? developed with artistry and skill’.2 Nikolaus Pevsner’s claim for Mackintosh, in his Curtis subsequently wrote a further open letter to 1949 Pioneers of Modern Design, as some type of high- ‘the Governors, the Director, the Faculty, Students, prophet of modernity (‘a forerunner of Le Corbusier’, Staff, Alumnae and Alumni’ of Glasgow School of Art, ‘not a single feature derives from period styles’)5 has which was published in facsimile in the Architects’ long since been thoroughly criticised for, among Journal on 3 March 2011: other things, ignoring the myriad influences on the What a disappointment then to contemplate Steven Art School from the Arts and Crafts Movement, from Holl’s proposed addition. It is horrendously out of scale, the vernacular styles of regional England as well as it dominates Mackintosh, it does not create a decent Scotland, from Art Nouveau, Symbolism and the urban space, it fails to deal with the context near and Vienna Secessionists. One recent critique, for far, it is clumsy in form and proportion, it lacks finesse example, refers to Pevsner’s ‘authoritarian in detail, has no relationship to the human figure, and is didacticism’. 6 It is thus with the rigidity and a stillborn diagram dressed up in Holl clichés such as unsteadiness of Pevsner’s argument in mind, rather ‘iceberg’ glass.3 than with the simple pertinence of his emblematic Even if the two professors were unable to move in boldness, that, even now as the builders dig 14 metres dialogue from their respective positions, what about deep in black clay to start the construction of Holl’s the buildings themselves? The new Holl building has new Glasgow School of Art across the road from been on site on Renfrew Street since early autumn Mackintosh’s original building, I aim to prepare some 2012, so what scope is there for relation and dialogue deeper and steadier foundations to the argument for between it and the Mackintosh School of Art across a proto-modern Mac. If Holl’s ‘design strategy’ can be the road? Perhaps it would be more profitable, at this understood, as Porter put it, as ‘driven forward’, at stage, to start with an analysis of elements of the least in part, by ‘ruthless pragmatics’ which are ‘ready’ end of that relationship, the Mackintosh ‘singularly appropriate in this context’, then it seems criticism arq . vol 17 . no 1 . 2013 3 4 arq . vol 17 . no 1 . 2013 criticism that it may indeed be the proto-modern aspects of objective dichotomy. Steven Holl is much influenced Mackintosh’s building which are best investigated by phenomenology in general and by the writings of for a promise and possibility of relationship to Holl’s Merleau-Ponty in particular. Holl often cites hypermodern work. Merleau-Ponty in his book Questions of Perception: Thus I’m going to do several things in this essay. Phenomenology of Architecture. At one point in that First, I’m going to establish a working definition of publication Holl describes his method of work: ‘modernity’ which satisfies those conditions set out We must consider space, light, colour, geometry, detail, by Holl in the quotation above. Next, I will discuss and material as an experiential continuum. Though we how Mackintosh’s work can be seen in that context, disassemble these elements and study them where that context will neither be one which individually during the design process, they merge in excludes or denies all other possible contexts and the final condition, and ultimately we cannot readily influences, ‘period’ or otherwise, nor is set in some break perception into a simple collection of geometries, totemic relationship with the latter-day Modernist activities and sensations.0 masters of the twentieth century. Then I will In The World of Perception, Merleau-Ponty describes the examine how Mackintosh’s own historical studies modern as when the relationship between humans paid into his work, and how he took inspiration and things is ‘no longer one of distance and from the past to make a leap into the future. Finally, mastery’. He writes of a ‘vertiginous proximity’, I will explore what sort of ‘dialogue’ Holl’s designs which propose with the Mackintosh thus understood. […] prevents us both from apprehending ourselves as a pure intellect separate from things and from defining Heightened relations between objects things as pure objects lacking in all human attributes. ‘The modern’ has been defined as entailing a new Thus the modern attitude is to let things come to us apprehension of our relationship with the world. 7 themselves, under their own conditions, and not to But what sort of apprehension of the world was it subject them purely to our reductive systems and replacing? We might take the single point hierarchies of reception. The artistic paradigm here, perspective system of representing objects as a of course, is the case of Cubism, where there is an simplified example, a caricature of the conventional attempt to let the manifold aspects of the being of ingrained attitude of the Western person to the the thing emerge in their own right, simultaneously world around them. All perspective systems are of and not in sequence under the imposed space-time course endowed with distinct symbolic meanings of framework of one idealised perceiver. In a crude their own. That the Renaissance, through juxtaposition, you could say that where classicism Brunelleschi, Alberti and Leonardo, had come up imposes order and allows objects to be experienced with both that system, and the image of Vitruvian in terms of a preconceived Euclidean framework of man, the perfect naked subject created by God and measurement, proportion, symmetry and so forth, situated at the heart of the ideal forms of the Modernism attempts to release things to be universe, speaks volumes about a hierarchy of values themselves. Nor is it mere coincidence that the and meaning. This clear separation of the perceiving Cubist movement, with these notions of how the subject from the objects which surround it has been object presences itself in space, arises in the same seen by some thinkers, for example Heidegger, as first decade of the twentieth century as the original disastrous for Western civilisation inasmuch as it development of phenomenology by Edmund drives those subjects on to an ever-increasing quest Husserl.2 In his essay in the Handbook of for efficiency in their dealings and their dispositions Phenomenological Aesthetics, Andrea Pinotti writes of a of objects, which latter remain alienated from them. critical ‘history of rapprochement between cubism For some other modern thinkers, such as those in and phenomenology’ where the Frankfurt School, this drive to efficiency in our Since early attempts, it is clear that the real point does not dealings with objects leads ultimately to the subject consist in a phenomenological interpretation of cubism, treating other humans in the world as objects, as that could accompany other

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