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The Art of Architecture As Mediating Vessel WILL WITTIG University of Detroit Mercy

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The Art of Architecture As Mediating Vessel WILL WITTIG University of Detroit Mercy 578 THE ART OF ARCHITECTURE/THE SCIENCE OF ARCHITECTURE The Art of Architecture as Mediating Vessel WILL WITTIG University of Detroit Mercy “The task of making a home in nature is what Wendell Berry has called “the forever unfinished lifework of our species.”1 I. THE ART OF ECOLOGICAL DESIGN It could be argued that the basic task of the archi- tect is simply to make place. Architects are called Ecological design is often characterized as a one- upon to create spatial conditions in response to dimensional form of practice that in its single particular human needs and desires. Through the mindedness excludes a host of complex design is- particularities of circumstance, we seek to create sues in favor of isolated technical strategies. In a real sense of place in the world. Place-making is many ways, the sustainability movement has never as completely free and open ended as the earned this reputation by espousing a simplistic, vellum might imply, but instead is influenced by a quantifiable set of “best practices.” As explained rich palimpsest of historical, cultural, political, geo- by Brian Edwards,”“the Enlightenment in Europe logical, atmospheric, and ecological conditions that promulgated a scientific rationalist view of the articulate an understanding of place. The architect world. It has survived to the present in the mecha- brings to bear a new sense of intention to this dy- nistic perception of sustainability shared by most namic cultural / natural system, but whatever the architects and engineers in the West. This finds intentions may be, they are always qualified by expression in the focus upon energy, fossil fuels, the given condition. Inevitably then the making of 2 indications and definitions.” Subsequently, many place is never an original act, but is always an act have come to view ecological design as a form of of re-interpretation. pragmatism that, when raised to the level of raison d’etre, represses a host of cultural, social, politi- Working from this characterization of place-mak- cal, tectonic, and spatial areas of inquiry. Regard- ing, one might describe the art of ecological de- less of this misconception, ecological design is at sign as a position that requires the designer to its core a theoretical position that essentially ques- question the relationships between humanity, the tions the relationship between cultural and natural place of dwelling, and the given world into which a systems, with architecture occupying a pivot point new project must be woven. In other words, it asks between those two realms. the question: can the architectural act serve as a liminal moment between the realm of culture and More specifically, this position, which influences the realm of nature? If we accept the premise many diverse contemporary architectural explora- that (architectural) design is the act of interpret- tions (irrespective of the designer’s articulation of ing and remaking a given environment, then eco- this influence), attempts to erode the egocentric logical design conceives of this act as a form of world view by calling into question the hierarchical mediation between humanity and our habitat. Al- relationship between humanity and nature. Once though the ecological project is certainly served this interplay becomes destabilized, the relation- by scientific methods, it is not inherently grounded ship between cultural and natural systems becomes by technical concerns, but rather by a persistent open to interrogation. search to renew the articulation of dwelling in the landscape. THE ART OF ARCHITECTURE AS MEDIATING VESSEL 579 II. THE THIRD LANDSCAPE any landscape, then this alternative vision tends to give primacy to the landscape as a generator of Our own habitat is not without examples of the human made form. There are in fact many con- attempt to create what has been referred to as a temporary architectural examples that follow this middle landscape. In fact, the built environment is trajectory by attempting to develop strong rela- dominated by spaces that owe their heritage to tionships between site and structure. (In some this goal, namely in the form of post-war subur- examples, this strategy can be seen operating in bia. Although it is a gross over simplification, it the reverse: human-made form is seen as the gen- could be argued that most of these landscapes grew erator for a constructed landscape.) Many recent out of either Wright’s Broadacre City or Corbu’s projects, which can be represented by Kolatan & Radiant City paradigm. However, in both cases, the MacDonald’s Raybould House, illustrate a fascina- actual territories suffer from an egocentric tion with a spatial condition whereby the end of worldview. Considering the status of the office or the garden and the beginning of the house be- apartment building and the single family home in come indistinguishable (Figure 3). Although these their suburban settings, a primacy is clearly given projects have not adopted the rhetoric of to the human formed object. The environment that sustainability, they do illustrate a very literal in- surrounds these objects is typically an uninhab- terpretation of the larger objective of reconciling ited facsimile of a natural condition, which rarely the spaces of culture and nature. can legitimately claim to be a’‘garden’. These land- scapes are clearly out of balance, and neither cul- However, in these examples the objective of a hy- ture nor nature is able to flourish. brid condition is achieved primarily through for- mal devices of mimicry, overlap, and reciprocity, Turning to landscape painting for a moment as a which tends to limit the connective relationship to way to access visions of a possible hybrid terri- one of symbolic resemblance. Although the build- tory, there are several examples that approximate ings theoretically blend into and become part of a a more balanced condition. In Jasper Cropsey’s hybrid, harmonious landscape, they do not neces- Starracca Viaduct for example, we see a portrayal sarily make real phenomenological connections of a bucolic landscape in the pastoral tradition, in- between the human and natural worlds. (In fact, cluding the requisite shepherd figure in the fore- in some cases the landscape/building blur is pri- ground (Figure 1). It is important to note that the marily a representational sleight of hand that in- subject of the railway was understood as a symbol evitably dissolves when the projects are actually of humanity’s extension into the landscape. Al- constructed.) This same tendency towards formal though at the time the prevailing sentiment was resemblance can also be seen in the design of build- much more suspicious, the painting clearly por- ings themselves. Similar strategies are present in trays an optimism that these two worlds can in works spanning many decades including Gaudi, fact merge to form a third condition, as the Via- Bruce Goff (Figure 4) and Eugene Tsui or the more duct is seamlessly blended into the natural set- recent Museum of Sex proposal by SHoP (Figure ting. Examples that deal directly with architectural 5). The work of these designers creates complex objects can be found in the landscapes of Paul spatial conditions that are inspired by specific natu- Cezanne, many of which are characterized by a ral forms, but again this similarity in formal struc- profound neutrality in the depiction of our dwell- ture does not necessarily result in a significant ing in the landscape (Figure 2). Cezanne is famous connection between inhabitant and the larger for saying very little about his work beyond (some- world. thing to the effect of), “I paint what I see.” What is ‘seen’ in these settings is an equivalence of the Many contemporary examples that one might in- cultural and the natural, which begins to erode the clude in this category of resemblance are in fact centrality of the human position, and anticipates a rooted in morphological principles derived from worldview that attempts to merge the natural and natural systems, rather than simple formal rela- constructed landscapes. tionships. Processes of metamorphosis and dy- namic forces have been translated in remarkable If the egocentric worldview always considers the ways into architectural “organisms” via digital human-made object to be the dominant figure in modeling environments as illustrated by Greg 580 THE ART OF ARCHITECTURE/THE SCIENCE OF ARCHITECTURE Lynn’s Embryological House (Figure 6). However, other they attempt to reconcile technical and natu- many projects operating in this realm continue to ral systems. If our work can be grounded concep- translate these processes of dynamic transforma- tually by qualitative mediations between humanity tion primarily as a means to generate form, rather and nature, and also recognize technical tactics as than as a paradigm for the actual transformational tools that should be employed in service of this capacity of the building as a finished product. There goal, we may be able to achieve both conceptual are examples, such as the City Hall Project in Lon- and instrumental hybrids simultaneously. don by Foster, in which the modeling environment does actually set up interactive conditions between IV. IMPERFECT IMAGES form making and simulated building performance The work of four designers working in com- (Figure 7). When the performance side of the equa- pletely different realms may serve as imperfect il- tion is emphasized, however, there is a danger that lustrations of this ideal. First, the Natatorium at the process will again move into a method of de- Cranbrook Educational Community by Tod Williams sign based directly on measurable climate based and Billie Tsien serves as an excellent example of criteria. Human desire may be all but eliminated building as phenomenological mediator. The posi- by a one-dimensional method that overwhelms tioning of the building in the landscape carefully metaphysical concerns with physical determinism. balances a range of issues.
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