the philadelphia school, deterritorialized | junkyard plus ultra |
| However, the obligation toward the whole in an architecture of complexity and contradiction does not preclude the building which is unresolved. Poets and playwrights acknowledge dilemmas without solutions. The validity of the questions and vividness of the meaning are what make their works art more than philosophy. A goal of poetry can be unity of expression over resolution of content. | The very complex building, which in its open form is incomplete, in itself relates to Maki's "group form;" it is the antithesis of the "perfect single building"49 or the closed pavilion. As a fragment of a greater whole in a greater context this kind of building relates again to the scope of city planning as a means of increasing the unity of the complex whole. An architecture that can simultaneously recognize contradictory levels should be able to admit the paradox of the whole fragment: the building which is a whole at one level and a fragment of a greater whole at another level. 49. Fumihiko Maki: Investigations in Collective Form, Special Publication No. 2, Washington University, St. Louis, 1964; p. 5. |
Inherent in an architecture of opposites is the inclusive whole. The unity of the interior of the Imatra church or the complex at Wolfsburg is achieved not through suppression or exclusion but through the dramatic inclusion of contradictory or circumstantial parts. Aalto's architecture acknowledges the difficult and subtle conditions of program, while "serene" architecture, on the other hand, works simplifications.
| Robert Venturi, Complexity and Contradiction in Architecture (1966), p.101. | Robert Venturi, Complexity and Contradiction in Architecture (1966), p.102. |
www.quondam.com/40/4041m.htm | Quondam © 2020.04.11 |