Smith houseWord文档格式.docx

Smith houseWord文档格式.docx

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textandimages,thetwonominatedpublications,“RichardMeier,architect1964/1984”,and“Fivearchitects:

Eisenman,Graves,Gwarthmey,Hejduk,Meier,1975”,embodydifferentvaluesandinterestswhenpresentingmodern20thCarchitecture.Withineachpublicationdifferentcritics,suchasJosephRykwert,ColinRowe,andKennethFrampton,employanarrayofliterarytechniquestocommunicatetheirindividualinterpretationsofarchitecture.Throughanalyzingthesedifferentcritiquesinthecontextoftheirrelevantpublicationsandspecifiedreadergroups,thedifferentlevelsofapproachofeachpublication,andit’svaluesandapproachinpresentingmodernarchitecturalworkofthe20thCbecomesincreasinglyevident.

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LANGUAGE

ColinRowe,isconcernedwiththevalueofmeaninginarchitectureandthroughtheuseoflanguage,hisintroductionto“FiveArchitects1957”setsthescenefortheworkofthearchitectstobepresentedinthepublicationaswellascommunicatinghisviewsonthegrowthofmodern20thCarchitecture.Roweillustrateshisanalysisofthedevaluationofmeaninginarchitecture,resultingfromglobalinstitutionalization.Thisisheightenedthroughtheuseofderogatorydiction,portrayingaconcernednegativityinhiswriting.“Theadulterationofmeaning”,“…nostalgia…abomination…frivolity”（C.Rowe,1957,p.4）,clearlyportrayhisdisappointmentatthesolelydecorativestatusofarchitecture,it’slackofcontent,andconsequentialminimalassociationwiththesocialvisionofthemodernday.Aswellascreatingintrigueandempathythroughtheflamboyancyofhisemotivelanguage,Rowedenotestheextentofhisconcernwiththis“impendingcataclysm”（op.cit.p.3）.Itishischoiceofdiction,whichclarifieshisfurtherbeliefs,suchthattoabstaintoobjectivityandascientificratherthanimaginativeoutlookwhendesigning,canonly“obstructtheinexorableunrollingofchange…retardtheprocessofhumanity”（op.cit.p.5）.TheseforcefulwordsirrefutablyembodyRowe’scondemnationofthestagnationofthearchitecturalprogression,asaresultofonetheoreticaldoctrinepresented,whichapplaudsthesuppressionofexperimentindesign.

TheuseofarchitecturaljargonbyRowe,createsanexotictone,whichdirectstheviewsbeingpresentedtothemorearchitecturallyeducatedreader,strengtheningthepiece,bygroundingthetextwithedification.“TheVilleRadieuse–thecitywherelife…”,“modusvivendi–eitherpastorpresent”and“dé

cordelavie”（op.cit.p.4）

TheefflorescenceinRowe’schoiceofwords,asindicatedbyFortyin“WordsandBuildings,2000”,is“apotentiallyillusoryanddeceptiveequivalentforopticalsensation”.Roweisevidentlyinterestedinpresenting,throughlanguage,hismainassumptions;

theimportancebehindmeaninginarchitecture,architectureasaresponsetosocialissues,toareaderwhohaspreviousknowledgeofthebuildingsbeingpresented.SotoothroughRowe’senthusiasticlanguage,amorelearnedreaderwouldbeforcefullycompelledtorevisittheintroductionplacingeachofthefivearchitectsworksinthecorrecthistoricalcontextwithreferencetotheissuesraisedashe/shereadsfurtherintothepublication.

IncomparisontoRowe,JosephRykwertusessimplerlanguageinhisintroductiontothetext,“RichardMeier;

architect,1984”toeffectivelyhighlightvisuallydescriptivequalitiesofMeier’sarchitecturewhilepresentinghisviewstothegeneralreader.RykwertmakesliteralreferencetolanguagebycomparingtheadoptionofwriterJosephConradbylanguagetotheadoptionofMeierbyvariousarchitecturalstyles.Languageusedasametaphor,explainsthewayMeierinnowayrepeatedthestylesofhispredecessors,howeverhisevolvingdesignstyleresonatedwiththatofthegreatarchitectsoftheera.“ItwasIwhowasadoptedbythegeniusofthelanguage”（J.Rykwert1984,p.11）.SotoolanguageallowsRykwerttoportrayavisuallysensoryimagetothereaderofMeier’sbuildingbeingpresented.“Thelesscontrivedentrance”,“awkwardwalls”,and“elaboratelyshapedforms”allservetodescribeandvisuallypresenthisviewsandperceptionsofthebuildingsshapesandforms.Evidentlythevaluesof“RichardMeier,architect1964/1984”,inpresentingworksofarchitecturearemorebroadlybasedonalevelofvisualization,anddescriptionforthegeneralaudience.

COMPARISON

In“RichardMeier,architect1964/1984”,JosephRykwertemploysthetechniqueofdescriptivecomparisontoemphasizetothereader,thegrowthandmaturationofMeier’sarchitecturalstyle.IndescribingthedispersionandinterconnectionbetweentheinteriorandexteriorspacesaswellasthehorizontalityoftheroofandfloorplanesofMeier’shousefor‘Mr.AndMrs.JMeier,EssexFalls,NewJersey,1965’,RykwertdrawsacomparisonwithFrankLloydWright’s‘FallingWater,BearRun,Pennsylvania,1936’.Onceagainafterdescribingthe‘SmithhouseatDarien,Connecticut,1967’Rykwertcomparesthegeometricplanand“expanseofglasstowardsthegarden”（op.cit.p.12）totheribbonwindowsofLeCorbusier’s‘fivepointstowardsanewarchitecture’seenintheVillaSteinatGarches.RykwertalsocomparesdifferenthousesdesignedbyMeier.The‘SaltzmanHouseinEastHampton,1967’,wasdesignedaftertheSmithHouseatDarien,however“isverymuchliketheoneinDarien”（op.cit.p.13）.Whilethisstylecanberepetitivetoread,itallowsforRykwerttosuccessfullyportrayhisimpressionoftheadvancementofMeier’sarchitecturalstyletothelesslearnedreader.“ThemainspaceismuchmorecomplexatDarien”andthe“configurationoftheentranceismuchlesscontrivedthanatDarien”（op.cit.p.14）.ConsequentlyRykwertisabletodescribetothegeneralreaderthebiographyofMeieraswellasthechangesinhisstyleoverhiscareerclearlyandeffectivelythroughthetechniqueofcomparison,providinganinformativeoverviewofhisarchitecture.

DESCRIPTION

Thetechniqueofvisuallydescription,bywalkingthereaderthroughtheworkbeingpresented,isadoptedinbothpublicationsbybothKennethFramptoninhisessay“Frontalityvs.Rotation”,andbyJosephRykwert,toexhibitassociatedideas,conceptsandtensions.Frampton’smainvalueinpresentingarchitectureisevidentlytheconflictbetweenthediagonalandtheorthogonalbuildingelementsandtheresultingtensionsinthebuilding.IndescribingMeier’sSmithHouseinDarien,“wearepresentedwithaconflictbetweenfrontalityandrotation”（K.Frampton,1975,p.11）.Framptonsuggestsandhintsatfurthertensionswithinthebuildingbetweenpublicandprivatespaceandthemergingofinteriorandexteriorspacesthroughthetendencyofexternalformsto“blowoutfromthecenter”（op.cit.p.11）.Movementisdenotedthroughthethreesidesofthehouse,whichseemto“rotate”aroundthecenter,intensionwiththe“frontallandwardfaç

ade”（op.cit.p11）.

Thusitisclearthatthroughdescribingtheformofabuilding,Framptonwasabletoalludetothearchitecturallyinformedreader,hisinterestinothertensionspresentinthehouse.

Againtointroducethereader,visuallytoMeier’sSmithhouseRykwerttravelsdescriptivelythroughthebuilding.Heidentifiesbrieflywiththeconceptofthediagonalinamongsthispresentationofalargevarietyofsuccinctassumptionsandvalues,inamannersuitedtoalessknowledgeablereader,comparedtotheconceptuallyinvolvedessayofFrampton.SimilartoFrampton’stheoryoftensionswithinthehouse,Rykwertalludestothetensionbetweenthetransparentandsolidelements,withrelationtotheviewsfromthehouseouttothegarden,“It’svastexpanseofglasstowardsthegarden”（J.Rykwert,1984,p.13）.Thisdrawsfurthersimilaritybetweenthetwocriticsintheirviewsontheinterplaybetweeninteriorandexteriorspaces.Rykwerthowever,alsodealswithvisualstoagreaterextent,suchasthewhitecolouroftheexterior,typesofmaterials,thefireplace,aswellasthetreesoneithersideoftheentrance,tocreateatruesensoryexperienceofthebuilding,simulatinganintroductiontothebuildingthroughvisualdescription,ratherthanpresentingaconceptualpostulationonthehouse.

IMAGES

Theimportanceoftheintegrationoftextandthelanguageofimagesinpresenting20thCarchitectureisevidentbothpublicationsinclarifyingconceptsandideasofarchitecturepresentedthroughtext.ThisconceptisfurtherelucidatedbyAdrianForty’stheorythat“oneofthetensions[ofthefourpartsystemofarchitecture]isthatbetweenlanguageanddrawing”（A.Forty,2000）.Rykwert’sideas,presentedthroughcomparativestudies,areclarifiedandextendedthroughthevisualelement,ashecomparesformsinplanandsectionbetweenthebuildingsbeingdiscussedtoprovideagreaterinformationbasetointroducethereadertoMeier’sarchitecturevisually.ImagesoftheshapeofMeier’s‘DormitoryfortheOlivettiTrainingCenter,Tarrytown,N.Y,1971’,incomparisontothe‘MITSeniorDormitory,Cambridge,Massachusetts,1948’byAlvarAalto,readclearerthanthe“serpentinedormitoryblock”and“S-shape”（J.Rykwert,1984,p.18）textualdescription.

Asimilartechniqueisusedinthepublicationof“Fivearchitects”onMeier’sSmithandSaltzmanHouses,andtheworkoftheotherfourarchitects.Onadifferentlevelhowever,thesesketchesdescribetheconceptbeingdiscussedunderthefivekeywordspresented,ratherthanonadescriptiveorvisuallevel.Thisisclearlyevidentinthe“enclosurediagram”wheretherelationshipbetweentextandimagesallowthereadertoseehowtheformisencloseddiagrammatically.Th