Herman Hertzberger - Space and the Architect Lessons in Architecture 2

Space and he Architect

Space and the Architect Lessons in Architecture 010 Publishers,

Rotterdam 2000

2

To Aldo von Eyck ( 1911-1999)

The light consumes the chair. absorbing its vacancy.

and will swallow itself and reh!ase the darlcness that will fi ll the chair again.

I shall be gone, You will say you are here.

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Preface

Space and t e Arc it ct is t e ~Quel to ussons for Students i Architecture p b ·&h d in l 91 . he s t·up of thi& s cond ok is ana ogous to that of he first, ough this tim i con ntrat on y ork of ne p~ t t n y rs. One g ~ i i i din th wor of oth ts. from ll ov~r th~ wortd nd ftom

Its m in the e is space. which lt illustrates with co

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e c other fteely throu ou its seven chapters. The focm. then, is ore that of a wide.. angle lens than le\ ns . wi h a ev tole set ~ i ford ign ng ., proe ss o thin ing and r arching.

i ems th t cross-r

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Th odginai Dutch e itioll coindd d wi h m d p rture in October 199 s professor t the ru Detft. So once gain y ks goo o the Faculty of Ate i c u· which g neroust ·nanct h book. nd in p tcul r H 8 undel11tln an Frits

van ·oorden. urt er I outd like to t an H4lns Oldewarris or hi$ ab• inq connd nc 1n thi u.n ly o ferin nd gr phic d signer Pi G razds for putting ·t tog t er o welL This book o ld defi"it ly not h ve th tight of d y withou th I

·nspirlng@ orts of Jop Voorn. who ~erut d and advised on both u ch d ngr sh edi ions. 1 a o owe a deb of thanks to seen~ ary and ocumentalist Pia

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nd Colette S oo .s, as ttrell s Sonja S fuit,

de and Ftmkt H~g n for h ir enthu iastic coop r ion i n · g of dr wings and i gJ s. Fi a ly th c is nd al ay$ w s Joh n , th on I $h r ry· thin with includi g the things l ~e. so this boo is rt of her

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Herman Hertz rger, September 19 I ovember 2000

Contents

Foreword 1

Space

9

10

Rittveld's spm u Carden wall of VE'Vey house, te Corbusier 11 • the idea of space • physical space • space and emptiness • space and freedom • the space of architecture • space apertence 'Mountains outside. mountains jnsjde'. Johan van der Keuken 1& • the space of the painting

'Las menina$'. Diego Ve\Mguet zo 'Sketch for Bar in the Folie~ Berqere', £douard Manet 'Interior with ffarpskllordist', Emanuel de Witte n

20

'Louvre'. Hubert Robert 21 'Pantheon', Giovanni Paolo Pannini n Compositions, Piet Mondrian 22 • space u a longing • apace and place 2

Mental Space and the Architect

26

• designing is a thought process Notre Dame du Haut, Ronchamp. Le Corbusier 29 • ingenuity. creativity • erasing and demolishing old cliches Eames HoWle. Los Angeles, Charles and Ray Eames n 'Nemausus' housing, Nime&, Jean Nouvel 12 Maison de Verre, Paris, Pierre Chareau, Bernard Bijv!H!t and .J onjs

Dalbet

34

Doll's hguse, Je-an Nouvel 3S Picauo'HyM u Dining table, Puis. Le Corbusier • perceiving

37

Le Corbude(t sketchbooks .,

• experiment-experience

Mater~al

com d1•e1tos autor~..,

1

Spatial Discoveries

s Sodal Spue, Collertive Spate na

48

'Simiane-la-Rotanda', Henri Cartier-Bresson m • habitat and wcial vme Nias struts. !ndone.sia m Hakka dwelling-holl$\lS, fujian U5 Diiren housing complex 1Jo Residential court projj!cts ll2 • collective $]lace, social use Budapest Railway Station, Gustave riffel 118

• spatial discoveries 'Scholastic information'. Robert Qoi•neau 54 0J)!!n-air Khool in the dunes 54 Suresne$ ghonl. Pa.ri5. Baudoin & Lods 55 School. At hens Talds Zenetos 59 De Po\ygoon primary school. Almere 6 2 Pe.terssdtult , Baste. Hannes Meyer and Hans Jakob Wittwer 68 "'ai$on Susptmdut, Paul Nelson 10 University centre. Malmo n Guggenheim Mll$\lurn, Ne" York, Frank Lloyd Wright " Hong Kong and Shanghai Bank. Hong Kong. Nonnan Foster 76 Bari Stadium. Renzo Piano zs Escalator in Mu~e Georges Pornpidou, Paris, Rento Piano and Richard Rogers 79 Roof of Unite dllabjtatipn. Marseilles. !& Corbusier 80 'White City', Tel Aviv, Patrick Geddes 84 Milsons aGradins, Henri sauvage 87 Centraal Beheer. Apeldoorn 90 Vj!la YPRO. Hillltrsum. MVliDV 95 4

Space and Jsl.u

Public bath s 141

Theatre complex on Spui. The Haque 144 Mar!rant theatre. Uden u z • social space 'Amsterdam. Global Village·, Johan van der Keuken t so Sociology of the table 154 • the qramma1 of social space Ministry of Social Welfare and Employment. The Hague 1sa foyer, stairs and bridges, Chasse Theatre, Breda 162 Montessori College Oost, Amsterdam 164 • building configured as city Dubrovntk. Croatia t?l

?8 6

• the guiding concept • the complexity of simplicity (or the pitfalls oheduction) • constructivism Bxanotsi

101

1-iuseu de Artt S.io Paulo (MUP), Lina Bo Bainal com di'E'IIos autoras

Foreword

Who today would dare to claim that things are not going weU with architecture? Has there ever been such an abundance of new examples and variants of forms and materials? Has thete ever been a time when so many successive options were able to attain expression together? It is difficult not to feel overwhelmed by the sheer opulence of it aU and to keep fotlowing the trail you have set out without being too wildly diverted by the new things that keep appearing. Today, it seems. there are no more restrictions - at least in the wealthy pa.rt of the world which sets the tone in the poor part where it is imitated all too avidly. Anything goes. everything is feasible and indeed made, photographed. published and dissemi· nated wherever new things are produced. Seemingly without limit and at a headlong pace with the call for change the one Implacable restriction. this "throwaway production keeps on mv.ltiplying. How many buildings praised to the skies by the deluge of inter· nation.\I maguines and other media. are still part of archite(· ture's collective memory five years on? With a very few exceptions indeed, maybe fewer than during the era of modernism. they aU melt into the background. having been sucked dry and eulogiud to death, succeeded by ever new generations of buildings undoubtedly destined for the same fate. Once everything may and can be done. then nothing is neces~ry. Where freedom rules, there is no place for d.ecision-making. We slaves of freedom are condemned to unremitting change. This. then. is the paradox - that ultimately this freedom limits the architect in hi! scope. What is there for an architecture student to learn when one thing and one thing alone is important to him, namely to think something up as quickly as possible and get all attention riveted on it so as to become famolll. if only for a few months? After that it's baclc to the drawing board, or rather from the scene to the screen. Today the world of architecture resembles a football match with only star players who can do anything with a ball, but without goal posts and consequently without goals. However magnlficent the action, it is unclear where the game is heading and what exactly we can expect of it. There are far more possibilities than ideas. and so our Wl!alth is also our poverty. If it is so that architectute in the postmodern age has been freed from narratives as truthful as those of modernism with its quest for a better future. then it must carry its meaning within itseU. That the things we make are surprising and look good is not enough. They will at least have to contain something. an idea that is of some use to the world. The architect needs to feel some responslbi\ity,like the struc· tutal engineers and consultants who, laying claim to an ever greater slice of the cake. enter by the back door to steadily rob him of his freedom. If the architect is a specialist anywhere. then it is in orchestrating the spatial resources and whatever these are able to accomplish. He must at(:ept his sodaI and cultural obligations and concentrate on the creating and shaping of space.

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Garde.n wall of Vevey house, Swit~erland I•·•J le Corbusier, 192'·25 The garden round this house built by le Corbusier for his parents right on the bank of lake Geneva, is separated by a waU not only from the road running alongside but, in the corner ofthe site, also from the lake itself. There the wall turnIng the corner combines with a tree to carve out a sheltered spot to sit with a view through a large window punched in the waU of the aUdominating lake Geneva and the taU range of the Alps beyond. The stone table resting t.,. R•ubort 'The nave wu mirrored in the brimming fonts, with t he beginnings of the arches and part of the windows . The reflection of the stained glass broke at the edge of the marble and continued on the flagstones beyond Uke a cheque red carpet. Broad daylight shone In through the three open doors and stretched down the whole length of the Cathedral in three enormous rays. Now and then a sacristan crossed at the far end, making the oblique genufleJCion of piety in a hurry. The crystal chandeliers hung motionless. In the choir a silver lamp was burning. From the side-chapels 1 Kotclltn unh In oUduuoomsb Blyt tikt dl•~r.ywindowsltHing 10 collocdvo ,,.. (lllf It....., • hllh WHI) c ¥owtl co•u: '

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Orphanage, Amsterdam ,., ·••oJ Aldo v~n Eyck

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The nistory of this 'house for children·. in utual fact a tiny crty. has been a story of changes from the outset. Even b•fore the building was approprined a discussion raged o~er how the prog11mme was to be housed in its variou~ unru. And when rn 1917 the instllsrr•~e regrme of lu then occupants... ho .,.ere all set to demolish large paru or lhe Orphanage. ume to an end. the burlding became a plAce of lurnrng with the arnval there of the 8ertage

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Institute. Then came evidence of the buildrng's greu powtt. or lither its capacity. ro take these changes of occupancy in its stride. Although now .... hoUy used as an office buildrng and with little of the former ambience left. a complete diuster it is not. However unfomrnately rts intenor has been treated, as a structure it is still very much In controL Indeed. anything that has been added can simply be removed ilgain. That urd. most of lhe sensib•ely crafted origrnal

interior has gone. a loss that would now seem ine.oublt, like so many stunning edifices now vanrshed from our Cltrts. And yet potentially the space this building has persistently m01naged to generate as an open structure is prennt stliL ready and waiting lor a more propitious age.

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This assemblage of open tent-like squares. their contents renewed, is bade in circula· tion to shape the vision of yet another generation of architects. Proof of the complexity and ttarity of organization with which formal order and daily life sustain one another, it is both palace and settlement. temple and igloo, crystalline and shell-like. In plan it recalls Fatehpur Sikri, Topkapi, Katsura. Alhambra. yet remarkabcy is of quite another onder and as utterly new as it is familiar. Immersing himself thoroughly in the mental wortd of the building's youthful inhabitants, the architect succeeded to a quite eletn· ordinary degree in transposing this world into spatial qualities. It is through such profound identification with its users that the building has become a manifesto against the habitual lack of Interest among architects in those who are to occupy their creations. It is a manifesto advocating a sorely needed change of attitude in the pro· fession. namely to use every architectural means to be generous in one's concern for what people eJCpect of their surroundings, both physically and mentally. It was this 'story of another idea' that made such an impression on architects of my generation, a message that has since made its way to every corner of the earth. Being thus faced with the sheer variety of

what can be done with space confirmed my awareneS$ of just how far the architect's concern could and indeed must e.xtend. Such a radical determination of form. custom-made for each purpose as it is in this building, has been a major inspiration to me to achieve in my own work a more open, more 'Interpretable' method, para· doxicalthough this might seem. The archi· tectural'order' of the Orphanage provides the lingua franca for a place-by-place interpretation of the demands made by everyday l.ife. to such effect that it convinced me of the need to perceive a building (using the paradigm of longue and parole) as an interweaving of'competence' and 'performanc:e' . The building's 'structure' is still wholly intact, but it has been gutted and thus robbed of its original dialectics. Those who have not seen the actual building -complete, as it used to be- and only know it from photos, are not in a position to truly experience the space of this magnificent 'model of architecture'. The problem with buildings is that they are too ll\llnerable, too subject to deterioration, and too big to fit in a museu m. It may be possible to preserve li mited fragments of them as relics, but those can give but the vaguest reRection of the space they helped to achieve. Break up the bricks and the space escapes- that is, the experience of

space. the respiration, the spirit. the taste, the feeling, the idea. the thought . A void besets our collective memory and our sight . The brief pe.riod of optimism colouring the history of Dutch architecture, the period of Rietveld. Duiker. Vander Vlugt and all those others round and about them who played such a major role - this period is drawn into our own age by Aldo van Eyck's Orphan1

tecture with a capital Aand without.'" The about-turn effected here means that the rear elevations are now exposed and all sides are consequently front facades, while the interior courtyard rejoins the public realm. The whole issue of inside and outside has become irrelevant. The segments of circle comprising the plan consist of a 'hard' immutable skin. like an arc of amphitheatre such as the examples in Arles and Lucca, built to last and able to receive less enduring in fills. u Whereas the enfolding arcs ca n house the ever essential offices functions, the 'paunches' were originally designed for a

wide diversity of studios for various clients. It is this diversity that makes its mark on the outside world, white the uniformity of the office side faces inwards. There were several versions made of this proposaL one of which allowed the internal space to be roofed with glass as an atrium . In that case, the result would have been uncomfortably c:tose to a system of arcades and then the disadvantages would have been foregrounded. for In activating all the sides. 'backs' as well as 'fronts', the dilemma arises of where to place the entrances. This project looks ahead to the principle we applied in DOren and other urban planning

reversals. There, however, the inner side of the block was unambiguously chosen as the street side with the entrances placed there, and a predomina ntly green area of pri"a te gardens enfolding the block.

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washing and drying rooms and roof terraces for general use. Th~ ind ividual rooms were made tall enough to receive a meu.anine apiece to be used as a sleeping balcony or a rtudy balcony. This effect of height is enhanced by having the vertically divided glass fronts continue down to the ground. Erasing the normal storey height is not just a question of freej ng space. Though the surface area including the sleeping balcony is basically no bigger than is customary for such rooms, it gives the sense of being a compl~te if minimal house in whidl you can easily create your own environment. if only because of the question of personal choice Introduced by having two distinct living zones. This means th< l t you can receive visitors without continually having to tidy up; it also makes habitation by two people easier. Parallel to the Living units is the restaurant whose line Is continued by an elongated zone of garden and terrace. Behind this Is a ldtchen and service block and the technical area. The restaurant zone forges a bridge between the resid~n­ tial portion and the service block. and gives lengthwise views across the rite paddies to the distant hills. This zone. opened up to all sides, invites all manner of activities and is suitable for parties, concerts and receptions. Also in th is zone are the library and more private rooms for talks, and a traditional Japan6e room . This project is used to test ways of exploit· ing solar energy. The sun breaks on the most sunlit side are equipped with solar cells. Instead of tacking on devices willy· nllly it seemed sensible to collect solar energy at places where the sun needed k~eping out of the building, and convert it into elmridty to help light the interior at night.

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Public library and Centre for Music and Dance. Breda (1991-96) (s•o-s•tl The complex housing the Public Library and the Centre for Music and Dance is wholly absorbed in the existing development of one of the large city blocks which in a town like Breda emerged with the urbanization of what must once have been farmsteads and counl!y houses with large back gardens. The building makes its presence felt in three of the four streets bounding the block. There is nothing objetttike about it in the way it drinks in its surroundings, indeed it can scarcely be called a building. Each of its facades responds in its own way to the character of the street it faces. It can be accessed from all three streets. This area became the site simply because it had been left over by a combination of property boundaries, spacing regulations and gaps.

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• Afurther factor was a group of mulberries occupying the large inner courtyard that, being a rare species, needing preserving through thick and thin. The upshot is an amorphous patch of built fabric set at a respectful distance from the trees that unwittingly form the hub of the design. The whole is held together by columns following a square grid that bear aloft a roof oversailing all the components; the impression is of a tent with all compo· nents assembled In a single large space. The roof has generous cantilevers at places

that partially shelter the adjacent street (as in some Italian cities for protection against the sun). This generates a sense of being indoors, while accentuating the dis· tinctive curve of the street without need· ing a fully curved facade for that purpose. Spacious views through beneath tbis jut· ting roof explicate the various functions and layers and the way they reLate. An inviting exterior is a prerequisite for a library. and you should at least be able to loo~ in from outside. Here a glass facade allows views in of the Lower·lying reading

~·· room through to the courtyard garden resplendent with mulberries. The informality of the whole comes from systematically acknowledging and ceding to those elements and conditions that have determined and shaped the site through the ages. The main library space, unques· tionably the dominant feature of the com· plex,locks into the surroundings on all sides, consisting as these do of mainly old building parts, thereby accepting a sub· sidiary position.

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... then peek in under the large roof as a freestanding ediR~ from a bygone era. Joining it along this 'street' is the Rim theatre, stitched to tile segment-shaped balcony in tile foyer by catwalks. The foyer zone, then, Is more than anything else the space left between the various masses whose siting was necessarily pre· scribed beforehand, hence iu amorphous charilcter. The periphery of this streetlike space suggesu individual buildings. with the brick head elevation of the old barracks building with iU vertical traditional windows welcomed as a free-standing element In this interior urban elevation. strength· ening the collage look more usually encoun· tered on the street than in a building. The street effect is further enhanced by the e~tceptionally high ceiling undulating atop the space In one great ftourish and giving Ul •l l'fW"!l. SPA.CI Z4t

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Gebaute Landschaft Freising. Munich, Germany (t99l) 1..,....,1

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Indunrial parks or'business parks', what· eftr fancy name you gift them, are in practice parking lots for autonomous buildings. all alike in their longing for variety and all downright conformist In their quest for identity. The result that confronts us every· where in the periphery of towns and dties is impotent and chaotic In equal measure and as with aU buildings stuck away forlornly on their own, no-one hu anything to gain from this state of affairs. The authorities, scared as they are of losing lucrative clients, shrink from setting new planning conditions, so that this landconsuming phenomenon continues to spread insidiously. ln Freislng, a prestigious international competition SH!Md to herald a chilnge in this situation and for a time it looked as though the plan 'Gebaute Land· schaft' (built landscape) would indeed be built. but once again the munidpal coundl played it safe in the end with a 'normal altemiltift'. The small town of Freising, to the north of Munich past the international illrport, nestles In a rolling, mainly agricultural landscape that is gradually surrendering its territory with e.ch new urban expansion; an unstoppable procen it seems. Instead of encroaching further on the landscape with yet another cluster of buildings. we grafted a segment of built landscape onto the site. This way, we haft avoided the dubious alternative of 'ur~n' and 'rural'. The dty Is devouring the landscape at an alarming rate by building it up, in all too haphazard snippets depending on what the legal position on property. just as haphaz· ~rd It seems, has made aVililable at the time. 'Gebaute Landschaft' comes across as an artifidal hill scooped out or lither erected In rows to gift a striking pattern to the landscape. Here. i variety of settlements ca n co·exist uch In its chosen conftguritlon, providing the curved greenery-clad strips of roof are respected. These green roofs together pre~nt an irea of public parkland so that the links in the landsape remain intact. The design for pliinting the roofs is functional u to drainage and proceeds from a strategy of ecological continuity.

... 18 · •1TW'n .. JUCI l-4.1

Office building for Land tag Brandenburg. Potsdam, Germany (1995) l..,·m J In this competition design the principle developed in freising for an entire neighbourhood was adopted again for what was to be a monumental government building. Here too there was a magni ficen t site, parallel to the river and bordered on the other side by a hill with a parklike character. Was this to be the locus for the umpteenth imposing block, talcing up far more public

...

space than is necessary so that the footpath logically followi ng the river would be btoclred by it? Buildings often take more space than they give bac'k! Our point of departure was to express the three principal office wings parallel with the waterfront as genUy billowing arch bridges over the connecting hall set at right angles to them. This hall, the central space

tying all the votumes together, commences at the main entrance on the street and continues to the waterfront where ships can be moored. Views out are of the water and across it to the city centre. The strip of parkland along the river remains undisrupted. with the footpath continuing over the office bridges as if through a publicly accessible hilly terrain.

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a 1JII IIIVIIOIIII . .I lOlLI Wherns the hfstorital city Only had autonomous buildings In exceptional cues, preferably those of a so:cbl importance and thus for generill use, the objectmanla of the twentieth century only seems to acknowl· edge free-standing buildings and the urban character has been fr;agmented u ;a result. loth city and landsc;ape art disintegrating. What other way is there to ~spond to tbts dilemma than to try to Integrate just that which hilS been fragment.ed , In other words to look for forms of Integration for buildings/ built developmentand grounds/landscape ('building the site'). So now we not only have city as buildi ng and building as city but also site u buildi ng and building as site. In spite of the persistent myth of nature•versus-cultu~. both landscape (in Holland at lust) ;and city are man-made, 15 compositions of more or less built elements. The controlled chuacter of both demands that we should portion out tht built elements evenly and It seems that we are willing to accept components of a more collective Import and emphatic pres· ence more easily. We are all too quickly Inclined to see dominant connecting structures such IS bridges, roads and high-tension tables as part of the countryside. w·hfle regarding blocks of flats or offices as disruptive: f;u more so than, say, grain silos and other eye-utchlng objects that we consider to be more necessary, which Is perhaps why they strike us less as a blight on the landscape. While the city consists mainly of brick and stone with green elements In tow, the country Is the negative of this though we tend to accept relatively more green In the city than brick and stone In the country. Green enclnes In the city, as it hap· pens, can never be large enough; green after all stands for light and sp.ace. • Maouou s The more collective the Importance of a struc· ture, the easier it is to interpret tt as part of 'nature' and

...

accept It as such In thelandsc.ape. Aqueducts such as the Impressive Pont du Gard seem to be part of the nearby rock ,.. formation, if only beciluse of the wutherlng of the superhu· man-sized stones the Romans used. There seems to be little difference here between built and naturally evolved elements. As Is so often the case, It wu Le Corbusier who got on the u ...~ scent of the Idea of continuous structures that could be laid like 'horizons' through the countryside, their floors bridging difference~ In height. and Inhabitable u belt dtles where It would be easy to Imagine roads being Incorporated. Remukably, this reversal produces 'negatlv•' buildings that are stripped entirely of their objectnus. This Is why they slip so easily Into their surroundings and that Is the great l mpor· tance of this idea (Ignoring in the present context the que~tton of j ust how succeuful such Inhabited ribbons would be as an urban org.a nlsm). Allied to the aqueduct-like ribbon development are the megastructural configurations of the Obus plan, likewise designed by le Corbusler, that wind through the Algerian landscape like contour lines." Though this proposal opened the door to the notion of 1 residential Infrastructu re with lndivlduallnfllls, the fact that this coutal 'viaduct city' deprives the hinterland of a view of the sea Is enough to cast doubt on Its feasibility, however beautifully It seems to slot Into the landscape. Aspecimen of this type of residential structur• elegantly undulating through the landscape, such as the one rtiltlud by Alfonso Reidy in Rio de Janeiro, demonm.m strates the sheer opulence of this large-scale gesture so that you 1lmost forget that it contains mass housing for the very poorest of that city's Inhabitants.• ln Reidy's scheme a central street divides the building horizontally Into a superstructure and an understructurl!. Running at half height through the building like 1 ship's deck ilnd reached from the mountain slope by footbridgl!s, this street confirms thl! feeling that the building Is no discrete object but part of the mountain . Also

•••

,. 241 SPAU' AW D IU AaCBlf!CT

found In Le Corbusler, this principle gained International m fame through MilrfO Iotta's conv1ncfng application of It In hb private house at Riva San VItale In Tlcfno, Switzerland. The sn1ktng 'deck' of Reidy's resfdentfll meg1structure g1ve rise to a further If unexpected spatial sensation of seeing before you the inner bend of t he rur of the block and simultaneously having 1 v1ew through the same building of the wor'ld In front of lt. In spatial terms this goes a step furthe r than the extra quality of the curved blocks exemplified by the crescents In Bath.14 This effect moreover strengthens your sense of being on 1n Inhibited mountllnsfde rather than In a housing block. So the building as landscape trades in its objectness to become a component of a major entity such u a rock formation; theoretically It could dissolve Into Its surroundings completely. t~•DICAPI AI nA:I:II OP SIIIUPICA•CI

Jn places where there are no overty present objects, such as In a landscape, things and the space between them an prevail on equal footIng, together with 41n egalltilrfan, non-hlerJrchlc division of 1ttentfon 1cross the entire 'field' 1nd, consequently, of munlngs thilt tend to Impose when attached to objects. Landscape, In the sense used here, Is 1 more or less artfcculated expanse with more or less protection (enclosure) 1nd potential for attlch1nent, and therefore more or Ius suited to be the bearer of meaning. significance, and Is therefore slgntfiablt. The less object-like and the more Intermediate, the leu expressive - not so much In the sense of Ius rich In contrast, but less determined, less defined and more open to fnterpre· tation. The smoother iln expilnse of lindscape, and so the less capable of enclosure, the broadtr the v1ew but the less plentiful the 'cover' (In Inverse proportion). By contrast. the greater

•

the potential for attachment and therefore resi stance, the further the swing towards physical cover and menU! com pre· hension together with a lesseni ng of the emphasis on v1ew and movement. If" smooth surface suwuts movement before anything else. the more '1rtfculated' it Is, the better the conditions for p(JC,e -making and settl ement. This conception of the landKape ldu shows ceruln affinities with the distinction tht philosopher &Illes Deleult made between smooth and striated surfaces." Put In Its most ele· menUry form , his concern Is the difference between planes whose meaning h free-f\01tfng or nomadic, 1nd 'burers' whose meaning Is place-related or sedenUry. While on the subject we should attach no more meaning to our references to philosophers than they deserve (architects are cruy about philosophers but tend to attach their Ideas too Utenlly to their own enthuslums) . The comparison h iln extremel y superficial one. Buildings are simply less fold1ble and pliable th1n words 1nd im1ges, whether we like it or not• Landscape as It concerns us Is 1 structure shaped by man for purposes of survfval1nd so constructed as to offer the maximum IMng space and thus the optimum conditions for exfs· tenet for all Its occup1nts. Wherever the surface Is rolling or sloping man douall he an to make It flat, meaning horizontal, by laying out terraces In steps. This artfcul1tion crutes better conditions for worki ng the lind and It gives more sp1ce. We can find 111 manner of terrace forms In mountllnous areu throughout the world. '" The principle is both simple and obv1ous: first you remove all the stones and rocks from the wild surroundi ngs and use them to bui ld walls that cont1l n the fertile upper str1tum In horizontal lanes. This 'natural' balance of materfal•nd ground simuiUneously wards off the threat of erosion, which hu Increased since the original vegetation was deared, and organizes the water resources. The more w1ter th1t Is needed, the more relevant the horfzontlllty of the terr~eu.

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,,.•.,. In the rice paddles of the Far hst we can find inc:redibly refined and sensitive systems, developed from the experience of countle$$ generations, that so determine the dimensions of terraces t:hat the required water capadty can be guaranteed with an absolute minimum of dyklng in and, therefore, malnt.enance. Terradng Is a means of defining territory and also provides cl;uity of organization and views. last but not least it presents a close-knit sodal syst.em through the interdependence of its users who share t he upkeep of walls and dykes and look after the water resources. Each landscape will evolve studlly over time Into places; defined, described, won and defended, territorially determinIng .tnd continually being redistributed and more intensively used due to new resources and standards. As the capacity for place fncreues, so does the capacity for sojourn and as Indeterminacy decruses, the space- not just physical space but also In the sense of leeway- decreases also. The same holds for the city at least when sufficient ' homogeneity of heterogeneity' prevails- in this s.e nse landscape par excellence. On that point, the following tut dating from 19&4 relating to Randstad Holland as an urban landscape is as relevant as ever. ' In Holland, more than anywhere else In the world , the Intensive use of the available surface mustalways be borne in mind, for nowhere are so many people to be found together In so little space. 'In addition. the need for enclosure must be gruter hue than anywhere, since nowhere Is the horilon broken by hills or woods, nor does the flat, soft ground co-operate In any way. Thus, the uguments are evident for close and intensive buildIng In this most open land In the world. 'It Is, therefore, the most Incredible piradox that people In

this town, Holland, ire busy wasting space on an extensive scale. These extension schemes for the large cities- garden dties- produce neither gardens nor cities, and there is no possible link when both components are lacking. 'Architects are destroying place while creating a void, where there Is ilready so much void imd so little space. ln blocks which are spatially set apart at such a distance that the shadow of one block does not even reach another, everyone Is an outsider, lost between walls of unassailable smoothness whose Impermeability can never accept, but only reject. 'A flat unbroken floor Induces one to go on, a smooth wall can only be passed; It keeps Its distance, withdraws, and offers no resistance. 'The first stage In the formation of enclosure is the resistance of floor and wall; it Is this resistance which causes one to slow down or accelerate, which can Influence the rhythm of existence: I.e., the forming of our surroundings Into enclosure: town. 'We must create enclosure; enclosure for shelter, shelter for both spirit and heart. The larger the world becomes, ilnd the further men travel. the greater the need becomes for enc:losure, and part of our work Is to give the widest significance to these two extremes by reconciling them to one another. Our environment Is crnted: chiselled out, coagulated, stretched, extended, like a fold In the ground, so that room Is made available for everyone and everything. '"'Townn is the Integrity that results from the Intensive contouring of the surface: it Is the total enclosure, brought about In such a way that the largest possible number of people can be absorbed. Usually, the first lead Is given by the contours of the ground itself. Even the most insignificant change- dlfferenc.e In level. incline, hollow (everywhere that dust is arrested In Its flow and piles up) -Is formative of enclosure and can be the prelude to town ... lirowth and change ire the only constant factors in the Image of the town , while every

m Johan .... cltf 1«11\on, Se11MUL ,.ra.nct, 1971

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suge of continuous builcllng must be permanent. Threfore every new enaoacltment must be • complete contribution In itself; a fulfilling of the time, 1n articulation of the surface. ' Here "articulation• means a disintegration of this surface in such a way as to give It size, enabling it to envelop everything that takes place within. Through this development, walls no longer function as partltionJO but as bases; the waU u enclo· sure. As such a process of articul•tion adv1nces, il town becomes more concentr~ted, deepedn outline and of IncreasIng c.apaclty. little room In much space becomes much room. Our st.arting point in planning must be the provision of optimum capacity.'" Modem architecture is notably fascinated with continuous curved 1nd often folded 1nd raked planes which in principle offer scant opportunity for atuchment. They produce little in the way of Interior quality; rather than encouraged to remain in place, you are urged to keep moving. Not condltfons for sojourn then, but no commitment either. This flowing architecture ndtes by the mere flct of seeming in Its entirety to be il constructed reflection of our modem way of life, marked as this Is by fleeting points of appliCiltion, as incidents in a dynamic whole. Not only Is this 'liquid' architecture averse to offering quality of place. orientation In the spatial sense vanishes In this fluid too. P1rticularly ilt thoSI! places where the columns stand at ninety degrees to the raked surface, an effect of alienation ensues with reg~rd to the horizon and your sense of equilib· rium . Here, the Instability of the modern world Is expressed using means that verge on the surrealistic. To compound mat"""'" ters, with floors merging seamlessly into ceiUngs th1t are also roofs, all famtlt~r ~rchltectural meaning stems to melt •w..y •nd builcllngs increasingly take on the attributes of landscape. The reference to landscape Inevitably sounds romantic but • SPATIALLY IVOLVID PLANU

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ilso not a little superficial. It may hold true as an implication of expansive, fluid, undulating, dynamic, 'nature' and space, but is undeniably over the top when only nomadic approprfiltlon seems to be at issue. Architects tend all too soon to mix their reality with metaphor, with the risk that the building's performance on piper and in rullty ire not a\wiys the ume thing. Ple1ted and folded planes may well express mobility and continuity; a horizontal plane Is more likely to Invite one to stay. But pleats and folds add information (and therefore meaning) ind. like striited surfaces in relation to smooth onesdepending of course on their position with respect to high and low, up and down -are more receptive to meaning ind therefore spatial In the sense of their capacity to be read as place, or filled-in and thus determined and designated. We are saddled with the dilemma that our era has eliminated determinacy from our thinking. The uchltect.• and Indeed architecture, has no standpoint to fall back on that can stabilize his arguments for and legitimation of what he makes. There would be no problem here wen! it not that eventually users remain uprooted In such circumstances of fluidity and flexibility, Incapable of becoming occupants. Flexibility may be receptive to everything, but It Is unable to Incite and thus too noncommittal to act as an undertying principle. Nobody, the most nomadic architect Included, can function In the long run other than from 1 home base, a reasonably stable point of reference In his thinking; a horizon, if need be, that he can ultimately aim at. Like the desper~te servitude of the slave to his dominating and oppressive mastcer, the modem irchltect Is a slave to the lnmblllty he should in fact be combatting -if only he knew how.

Pisac, Peru [YI· suJ The slop~ near the Peruvian town of Cuzco in the Andes were worlced by the Incas" on an astonishing scale into exceedingly long agricultural terraces resembling gigantic sta irs. Theose terraces are Linked together by stonl's protruding from the endless stAcked walls that form minimal sets of steps at regular intervals. These built forms are an intervention in nature. The terrace walls hold the fertile upper layer in place, combatting erosion and

enabling effective water management. In an architectural sense you could say that the landscape haJ become more ac.cessible through this stepped articula· tion and therefore more habitable. Astructure has come about. both built and of the landscape. To us, it is a potential urbanistic principle capable of launching a multiplicity of meanings. interpretations and elaborations.

•••

... ..,

Moray, Peru 1~...,.,1 On the plateau, quite unannounced by the surrounding landscape. is a hollow of glgan· tic dimensions. The walls of the hollow are lik4! the mountain slopes farther on, worlt competition tt:t- Bil>Uothi~ No_tlonaiA! dt froOO! (Oo•lrriqllt! Pomult. .....

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Roof of New Metropolis, Amsterdam ,.,••.,.1 Renzo Piano, 1992·97 Standing on the bank of the IJ inlet and founded on the car tunnel running beneath, this science museum with its sloping roof is the tunnel's mirror image. Th e museum itself is a sealed box given the shape of a ship's prow for rather too obvious reasons. But the stepped roof makes the building

'"

less building-like from the city side and more of a Land abutment·like continuation of the bank, accessible to the public and fadng the sun. This makes it an attractillt! place to linger, particularly for children who can abo find water there, cascading down among the

steps. The building constructs an attractive slice of public space like a hill in flat country, offering an unfamiliar and surprising view of the old centre of Amsterdam previ· ously only to be seen from the historica l towers in its midst. This way it is contributing to the social space of the city.

.,. I_. ..IITWUJI' SPAO Zl9

Library steps, Columbia University, New York 1..,1 Placing buildings ~onsidered to be important on a pedestal is a regular theme in oosially org11nlzed architecture. Held dear of the ground. elevated above us. the building is m11ked out u an object and singled out for our attention. Steps do admittedly suggest Jecessibility. but only when distance has ~n created first.

•

t70 JJACI .... . fWI U CIIUC1

The change of guise into a tier of seating tem porarily makes of this stair a place. From being 'in· between' it has become a subject and aim in itself. tempor.tn1y rdegating the library to the baclcground as a side issue and shifting the emphasis from the established. contained and solidified to the Informal. the inviting. the ephemeral.

Just n with t he many kinds of stal11 and steps that classically-influenced architecture hu brought forth, here too it trilnspires that the ca.,.city for interpretation depends on the situation . What was meant as monumental can, depending on the circumstances, just u euily uansmutt into the opposite.n

Stair of Opera House, Paris lml Charle~

Garnier, 187<

Stair of Philhannonie, Bertin 1m1 Han~

Scharoun, 1963

Gamie(~ 'old'

opera hou$e represents a type of theatre that i~ no longer made. The same holds for the cascade of stairs attendant on it, if only because of the huge dimensions that make such a spacious stairwell and its contents a building in itself. When the audience takes to these stairs it becomes a theatre I~ Itself and a unique spatial ex· perience for aU concerned. The great space around presents views on aU sides. upwards too. and, more so than would a level floor, aUows the audience to see and be seen. A more up-to-date example is Hans Scha· roun's Philharmonie In Bertin, where you can enter the auditorium on aU sides by way of a great many small stairs rising from the foyer. Unlike in Paris, the audience is not shepherded upstairs in a great 1\ood but taken there in small groups. More than that. where two distinct Rights of stairs lead to the same landing, slipping in and out of alignment as they proceed, a power·

,,. ful sense of dynamic ensues as the Flows of concert·goers seem to be perpetually clashing and separating.

619

0

Carrefour Rue Vi lin/Rue Piat. Paris (no)

Ronies, 1959 There is clearly more involved here than just the concrete sair, a construction In Its own right joining the lower-tying neighbourhood to th0

LJI I UCI&_I O t'll &lCI IfiC'f

'On!! never finishes studying, one never finishes. one keeps going without st opping, one becomes more and more of a student:

Lessons for Teachers

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• Astudent who had been gi¥en an extremely low marl< came to discuss tne matter with me prior to doing an exercise. (The stronger ones you never see again, it's the weaker ones tnat keep tr.liling you.) His wor1< showed a total lack of understanding of architecture. This was a hopeless case who should never have embarked on this training course to begin with and this seemed the ideal moment to impress on him that it would be better all round if he were to do something else. In what turned out to be a lengthy discussion of his work I made it plain to him, patiently and in the proper manner, the full extent of his tack of understanding. From his reaction It seemed that the message had struck home, for he now appeared to fully grasp why he had received such a low mark. Then he came out with it: 'You know, I had in fact decided to pack this study in; but now. after this little talk, I can't waitto get back to work.' • Most teachers only accept what they themselves consider to be good and tend to use that as a standard against wh ich to measure absolute quality. It is known that the composer Maurice Ravel. when judg ing work by young colleagues and coming across a composition he confessed to understanding nothing of, always gave it his approvaL 'To be able to condemn a piece you must at least have first understood it. and should it be beyond you r understanding it might be gibberish but it might just as easily be a work of genius.'

• Problems are often regardrd as pits in which you get more and more deeply entrenched, to the point of suffocating. You could better address yourself to mountains that need digging up. There are for that matter no such things as problems. not in our profession at least. only challenges. • Written accounts of projects, even of the most excellent projects. are all too often tedious in the extreme. This is because they tend to reproduce the design process from the beginning, so that they culminate in the chosen final form, much as a detective story climaxes in the unmasking of the villain. Unfortunately this is not the way projects worlc. The idea, the quest with forays to left and right, is only interesting when you know where it is all leading to. The thought process does not run synchronously with the events in the report you make of it, no more than a meal is served in exactly the same order in which it was prepared. What, for that matter, would you choose to say if some TV reporter perpetually pressed for time gave you sixty seconds to get across to the viewers the gist of your project?

• Once a chemistry teacher had to cany out in front of the class experiments set down in the telrt· book as chemical equations of an unmistakable simplicity. The results had to be spot on, bearing out in practice the theory in the book so that the pupils would, for example. indeed see just a blue residue it the end of the experiment. He explained that they often took himages to get organ· ized. Including bringing in all sorts of elaborate catalysts so that a process all too regularly doggrd by contaminants would at least have a semblance of simplicity. • Never burden a student with 'You could have done that differ· enUy'. And certainly not wltn 'You should do it such and such a way'. This may show how good a teacher you are. but it's no help to a student. It wasn't your discovery anyway. • Jean Arp was wrestling with the problem of how to put together the two blocks of the perfectly smooth wood sculpture he was malcing so that they would come the closest to a single piece. Avisitor to his studio who evidently did not fully grasp the problem. suggested hammering a couple of large nails through them . The holes these would malce could easily be touched up so that absolutely nothing would be seen ofthe operation. Arp, tormented by this proposal - obviously too simple and too logical to dismiss yet too Insensitive to accept. could only answer: 'Maybe so, but God sees everything.'

• Agroup of students on excursion were received at Alvar Aalto's office. They were imrited to ask him questions, and one ventured to inquire as to whether he ever used a module. To which the master must have replied: 'Of course, in all my work.' The next question, regarding the size of module. was inevitable. Aalto·s answer? 1 always work with a module of 1 mm.' • During a lecture he gave to students in Zurich Aalto told the Following anecdote to make clear what kind of architecture he would prefer not have anything to do with: An insurance agent was rung up by a client in a state of complete panic who tried to explain how seriously his house had been damaged in the previous nig ht's violent gale. His account was so garbled that the insurance agent intenupted him with the demand: 'Sir. just tell me whether the house is still standing, yes or no.' To which the stricken victim replied: 'Yes, the house itself is still standing. but all the archi· tecture has blown away.' • 'An architect is someone who tries to sell lemons to people who want to buy turn ips.' S.van labdtn

uz 'You have to tab ln·to acciM.Int th1t 1M arl\n ~ • 'ScMnberg always complained that his American pupils didn't do enough worlt. There was one girl in the ctass in particular who. it is true. did almost no work at all. He asked her one day why she didn't accomplish more. She said, "I don't have any time. • He said: "How many hours are there in the day?" She said: "Twenty-four.He said: •Nonsense: there are as many hours in the day as you put into it." Jc>l\o ~ • 'One day when I was studying

with SchiSnberg, he pointed out the eraser on his pencil and said, "This end is more Important than the other." After twenty years I learned to write directty in ink. Recently, when Oavid Tudor retumed from Europe, he brought me a German pencil of modern make. It can carry iny size of lead. Pressure on a shaft at the end or the holder frees the lead so that It can be retracted or extended or removed and another put in its place. Asharpener came with the pencil. This sharpener offers not one but several possibilities. That is, one may choose the kind of point he wishes. There is no eraser." John c,9,

• The world-famous conductor Otto klemperer was feared Far and wide for his unconventional, often shocking behaviour; a good many five-stir hotels refused to have him because of his impossible habits. Music for him was the only thing that counted, and so his capacity for criticism knew no bounds.Jt was In fact nrver good enough, something the musicians he conduct~ were well awue of; they were all too often getting the rough edge of his tongue. But it was the audience he cared for the least. with a contempt that welled literi lly from the depths of his soul On one occasion. a celebra ted pianist hid j ust completed a brilliant cadenza and just before klemperer was to bring the orchestra back in, he turned to him and pronounced.loud enough for the audience to hear: 'Far too ravishing for this lot: • Pet er v~n Anrooy was a composer well-known in this country when I was young (one piece of his that is stiU played on occasion is his Piet Hein Rhapsody). He also conduct~. at, amongst other things, the low-priced concerts for the young, specially intended to give schoolchildren some idea of whit classical music was ducation. This time It Is the students that decide which teat"hers they want to hear and what the subje pu. one gzucbt et CIJW!' droitt. an dtv•nt tt un 6tr· ~rt. m prfs et ur.. toln. Lonq~ Mn .,....,. rtte ootrer~d.• notlt ugord portt ttt• loin. N.li$i'i\ nt ttaconttt ritn. il nt vail ~~; i1 ne voi' qo~ Clfl qu'Wltf'ctmtJe: l'n~. (tit . . qui ........ tf11illd••• ""

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I 1 WJtt-n 611old ol ..,, •...Sth.t I woald bK'oll14 mort detopty inTOtved io rouJi< Uo.an ~· w\lhld. I haN alt .. felt the tack of thil•bility, On. llliWJ O«.a.ional ...utd bneiOW>d 11 O>t!uL 8ut when I 1hink of tiro! • ppolling qulntity a( p\ati • tudti lor whldl tltt pluo" dll\Y rospoP· cibl• • 019•""t platit~ which Ia lf1Ds't c•:se:~ woutcl nfWJ bt writtf'n if U\ti.t ..uthm b.id ontv pton 1.nd pipet to rely on

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Oti;in•l lt•li•n tnt: 'E,. t "'oil dtllo del Hl01ofl. e:hfo la C:lU.I ~ coae 11n.1 llJU.ndt (U••• e L.a. CoWl .. SUI Yaltb ON ptccOla OtfJ. no_n si avti tortn i0itti!t1Wotlw lf" lfttllll>r.• dl un.a uw ,s oN> eut &t.tue pkc:olt ~1at5c:mi: com.• .cl es.rapio l'~rio. it COl· t.iicla pronzo, it portJ. " llli/d.. pp. 101·110.

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