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I like complexity and contradiction in architecture.
Robert Venturi
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This effort was influenced by Peter Eisenman’s House II:
of which I have made a model that can be found here, with discussion.
In both we start with a regular cubic grid, then submit it to a series of shifts and other adjustments. My design is much quieter, however, and where Eisenman rethinks structure and form of the total space, inside to out, my changes are largely surface, on the exterior.
In this design I wanted to add a tower—the folly—to distinguish the building, giving it a point of focus and identifying its location and function as a center. I’ve gone out into the plaza, though I’ve also added to its space. The extra area isolates and thus highlights the tower, though I’m skeptical the space would be used and can think of several reasons why it might not be a good idea.
I had two designs in mind, the Urbino Ideal City:
and Bernard Tschumi’s folies for the Parc de la Villette, Paris:
Folie L 6/Jardin des dunes et des vents/Parc de la Villette/Paris
Bernard Tschumi
Two excesses: to exclude reason; to admit nothing but reason.
Pascal
Tschumi’s folies in the Parc de la Villette begin with a basic cube, 10.8 x 10.8 x 10.8 meters, itself divided into 27 equal cubes within, 3 to the third power. The cube in each folie undergoes various transformations—additions, subtractions, combinations—marginally related to its program, if at all, if it has one, sometimes subverting structural function within or leaving support stranded without.
Here R4, where the cube rests on gray columns, beneath which descend stairs in one direction, continuing in descent one path; through which passes another path perpendicular, bridged, gracefully curving. The two paths do not intersect and the folie serves no purpose whatsoever other than to mark this crossing. We want to believe this treatment gives the intersection meaning. Just as much, we realize we are at a loss for anything to say. Still, it holds our attention and perhaps makes us think about movement, about direction, about crossing, and about containment, but also non-intersection. It asks us to linger, it pushes us to move on. Any further discussion leaves us where we started, with questions.
This may be my most successful design for the site. It is modest and informal, thus fits in with the character of the buildings surrounding. The proportions are good—and proportions and dimensions are always approximate in my models. I have to build what the plastic pieces allow. The design as is, however, is an orchestration of imperfect squares, which keeps it from monotony and forced regularity as well as lends the building individuality and subtle energy. Also there is a contrast of scale for hierarchy, with the large scale of the atrium windows set against the smaller, calling attention to a vital point, the center of downtown St. Johns.
Details and surface give the building distinction. The walls are made of brick, which ages well and references other brick buildings in the neighborhood. All windows are framed in dark green—I can’t represent this well—and smaller panes are used for the atrium windows held by a green grid, adding another degree of complexity and variation in scale.
What the design does is place a prominent open cube in the middle of town and symbolically define it as center. It is an open structure calling for fulfillment. Not only does the cube attract attention to itself and the building, it also makes visible what goes on inside. Users are made aware of their presence in the town, among the passersby. Function and site, users and residents, are visually brought together, inviting relationships and understanding.
The L arrangement of rooms around a corner atrium recalls Kevin Roche’s Ford Foundation Headquarters, an influence. His building offers a haven in the midst of urban New York without losing sight of its presence.
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Renaissance artists firmly adhered to the Pythagorean concept “All is Number” and, guided by Plato and the neo-Platonists and supported by a long chain of theologians from Augustine onwards, they were convinced of the mathematical and harmonic structure of the universe and all creation. If the laws of harmonic numbers pervade everything from the celestial spheres to the most humble life on earth, then our very souls must conform to this harmony. It is, according to Alberti, an inborn sense that makes us aware of harmony; he maintains, in other words, that the perception of harmony through the senses is possible by virtue of the affinity of our souls. This implies that if a church has been built in accordance with essential mathematical harmonies, we react instinctively; an inner sense tells us, even without rational analysis, when the building we are in partakes of the vital force which lies behind all matter and binds the universe together.
Rudolf Wittkower, Architectural Principles in the Age of Humanism
It was a belief embraced by Palladio, made manifest in his design of villas
public palazzi
and in what was believed the highest form of architecture, the church.
That this order does not fit other conceptions of Christianity, that it doesn’t fit the facts of history, its order, that the order of God might be unknowable, that there are other gods, other religions, or that there may be no god, that the notion of order itself may serve other instincts, that the notion is illusory and self-serving, that it makes no sense—these questions were not asked. When they were, we were left only with numbers, their relationships, and vanishing perspectives.
There is no point in being sentimental here. Still, the well-proportioned buildings remain with their symmetry, their pulsing rhythms, those and the desire that reaches beyond desire, a breathing, an aspiration for what might hold us together and vouchsafe our lives on earth, for that and still for something else.
This effort was loosely inspired by a study of Louis Kahn’s Exeter Library.
Though the result of that study was to realize how subtle and complete his building is and how far mine falls short, how limited my means are. Still, I wanted to create a community center that had a simple, coherent, yet monumental cast that might stand out on the plaza and distinguish it from the other buildings in St. Johns while at the same time fitting in. See the Centering a Town: First Efforts for site, background, and program.
Classical order has been with us for millennia in one form or another, exerting extensive cultural influence on our lives. Our language itself is built to great extent on Greek and Latin roots. As an order it is not just a style but a system of controlling space and relationships within that space, having its own language and references, that, by extension, regulates our place within that space, our relationship with the powers who deploy it, with each other, even shapes our ways of thinking about space itself. The order has also proliferated in diluted interpretations that at best are merely sentimental as well as been distorted to create monsters.
But it is the order of demos as well as empire. In the United States, since its early history, various classical revivals have been used not only to structure the growth of political institutions and represent their power but also to build independent homes, schools, churches, and civic buildings, large and small, giving them presence, balance, and ceremony. These contain and support the American spirit, housing its energies and contradictions. They are a vital part of our heritage. White columns and accents are often combined with red brick walls, and I have always found the contrast attractive. The brick gives the mass of the buildings body and texture, bringing them down to earth literally, touching our substance figuratively.
St. Johns has several such buildings, including its branch of the Multnomah County Library, above, picture via its site. Built over a hundred years ago, the library is a modest building that has stood up well and continues to contribute to the heterogeneous complexion of the neighborhood. For this effort I wanted to give bricks and columns a shot in another version of my mixed-use community center project, one that references those buildings as well as distinguishes itself as a place of significance yet remains on our level. See my first post Centering a Town: St. Johns/First Efforts for site, plan, and program.
Modern construction technology rendered columns obsolete; modernist reactions relegated them to archaism; postmodernism only referred to them with irony and whimsy. Yet none of those have given us a common language full enough to express our desires and complexities. The first two have cut us off from our past, the last trivialized it. I wondered if there weren’t some way to reinterpret classical order for a building that might still speak to us now. This won’t be it—I’m just experimenting.
Brutalism meets industrial revolution grace—another design for a community center to replace the Central Hotel in the St. Johns neighborhood of Portland. This version has the same program as my previous designs, a black box theater and museum/art exhibition space on the the first floor and classrooms on the second and third. See my previous post Centering a Town: St. Johns/First Efforts for background, site, plans, and concept, along with links to resources and my other rough designs. As always with my models, adjust proportions and imagine detailing, especially in the windows.
