Abstract
The tectonic idea has frequently been referred to when discussing construction philosophy, and presenting the properties of materials has been considered to be the authentic tectonic expression. In contrast, atectonics has been considered the negation of tectonic expression, which would not only disturb observers' understanding of architectural construction, but also be the converse of the conventionally authentic philosophy. However, according to Gottfried Semper, the surface cladding is superior to the tectonic practice, and this has created a distance from the conventions. Moreover, Robert Venturi, Denise Scott Brown and their colleagues, as well as Matsunosuke Moriyama, have provided this research with two appropriate examples through which to re-examine the consideration of atectonic expression. This paper will conclude two approaches to re-thinking atectonics: the symbolic expression and the 'ghost architecture' of the contexts. This paper will reveal a different authenticity which can be achieved from atectonic expression, namely the representation of the symbols and the surrounding environment. Keywords: atectonics; principle of dressing (Bekleidung); VSBA's Lewis Thomas Laboratory; Moriyama's Katakurakan 1. Introduction geographical conditions and the installation of the If we consider the conventional pursuit of modern related equipment, simply to display the constructive architecture in terms of rational construction and materials and their properties has become difficult. materials, then the idea of 'tectonics' is typically one To respond to this difficulty, some theorists have put of the conceptual lenses used to explore this theme. forward ideas of using constructive expressions in However, a more recent examination of modern relatively flexible ways, due to spatial considerations. architecture reveals that, either consciously or This provides alternatives for us to re-examine the unconsciously, contrasting or 'atectonic' expressions constructive arrangement of architecture and to reveal related to architectural tectonics have been presented what is hidden beyond the dichotomy of tectonics and more widely or more easily than the ontologically atectonics. tectonic (Wigley 1995). Therefore, although atectonic Therefore, in this paper, atectonic ideas are going to expressions might result from diverse purposes, such be clarified after a brief introduction to the concept of as to conceal the clutter of structure to gain clear tectonic theories. Then, an empirical project of a firm of spaces, or some other practical reasons, in this study, well-known architects, the Lewis Thomas Laboratory we consider that even atectonic expressions resulting (LTL) of Venturi, Scott Brown and Associates (VSBA), from practical concerns deliver particular implications and another project from the Eastern world, the of social and/or cultural milieux. Katakurakan (The Katakura Hall) of the Japanese Theoretically, 'tectonic' presents the ontology architect Matsunosuke Moriyama, will be considered and essence of architecture and its constituent in detail to reveal their philosophy of enclosure of the material (Schafter 2003). However, because of building. If LTL can be considered as a Western case the complex conditions of buildings, such as the responding to the Modernist idea of the tectonic, the Katakurakan could be regarded as an Eastern one. The fact that they were both influenced by Western *Contact Author: Nan-Wei Wu, modern architecture, and tried to use an atectonic Post-Doctoral Research Fellow, Department of Architecture, idea; material imitation as an architectural expression, The National Cheng Kung University, to respond to the idea of modernity, clearly showed No. 1, University Road, Tainan, 701, Taiwan two different approaches to the issue. The interesting Tel: +886-6-2080265 Fax: +886-6-2380620 thing is that although they had a similar answer, they E-mail: ms.nw.wu@gmail.com did have different concerns. This phenomenon, as a ( Received April 15, 2013 ; accepted November 11, 2013 ) Journal of Asian Architecture and Building Engineering/January 2014/16 9 consequence, raises a significant issue of the way the the structural frame, on which were hung carpets, of concept of atectonic architecture was established, and the hut could be seen as the inferior element, since the will lead us to discover the alternative interpretation hanging carpets, which performed the role of divisions of atectonics: finding whether the contexts of the of the hut, would remain the true walls, the visible atectonic works actually reflect tectonic selections. boundaries of space. Later, he further addressed the principle of the dressing (Bekleidung in German) and 2. The Problematic Dichotomy Between Tectonics incrustation of an architectural surface disregarding the and Atectonics structural portion (Semper 1989). He clearly claimed As suggested above, people usually consider that the structural-symbolic meaning was more that the tectonic approach to architecture shows the significant than the structural-technical sense. The properties and nature of the constructive materials. importance of the surface dressing and ornament in Architectural theorist Kenneth Frampton (1995) Semper's mind appeared more crucial than the invisible derived tectonics from its diverse origins in scopes technical structure. of etymology, topography, metaphor, ethnography, Semper's idea in fact overthrew conventional technology and representation as well as ontology. He building logic, while presenting the authentic revealed the characteristics of tectonics not only in its properties of constructive materials has been obeyed technical approaches but also in cultural and traditional theoretically to echo tectonic approaches. Although this backgrounds. Moreover, when Eduard Sekler (1965) did not suggest disturbing observers' idea of the nature clarified the difference between structure, construction of material, it did re-define the focus of construction. and tectonics, he listed various definitions of the term For Semper, the object providing the enclosure was 'tectonics'. It might be appropriate to summarize the more crucial than the one hidden back-stage. Rational meaning of the term as: an etymological combination reasons for the surface ornament of construction could of architecture and technology, originally referring be explored from this, and this development gave some to the craft of the carpenter; expressive forms of practical projects more theoretical support. prototypes born from technological and constructional In conventional approaches, to show the properties necessity; and pure visibility of construction. of material directly can be categorized as the Based on Se kle r's de fini ti on, to show the expression of tectonics. Although some scholars have properties of materials will be a very fundamental suggested that tectonics could contain specific cultural practical method of tectonic expression. One of the and traditional milieux, it was not easy to reveal this in vivid expressions of the nature of material could strict tectonic expression. In contrast, when materials be considered to be Louis Kahn's well-known were not constructed in a logical way following 'conversation' with personifying brick (Kahn 1982). their characteristics, or when they pretended to be Kahn 'asked' brick about the form of an opening, and another kind of material, people have conventionally brick 'insisted' on its preference for an arch rather than considered it as the expression of atectonics. However, a concrete lintel. According to Kahn, an arch is the by examining Louis I. Kahn's projects as is done in the tectonic expression of brick for the top of an opening, following paragraphs, we can understand the difficulty as this presents the property of brick. of actually practising tectonic expression thoroughly. The atectonic concept was established in the 1960s. However, empirical projects force us to reconsider Sekler (1967) pointed it out when discussing Josef the problematic dichotomy between tectonics and Hoffmann's decorated Stoclet House. Before Sekler's atectonics. Although Kahn emphasized tectonic argument, Semperian theory was not widely discussed expression and the authentic properties of materials, within the atmosphere of Modernism, even though and even considered that joint-making was "the he published his writings in the nineteenth century beginning of ornament" (Tyng 1984), he still had (Leatherbarrow & Mostafavi 2002). Sekler affirmed difficulties in expressing brick only in many of his that atectonics 'is used … to describe a manner in projects. The Indian Institute of Management in which the expressive interaction of load and support Ahmedabad, built from 1962 to 1974, for instance, in architecture is visually negated or obscured'. The was one of the projects almost solely presenting clarification was not very well known until Harry brick construction (Gast 2001). Nonetheless, some Mallgrave's revisits of Gottfried Semper's ideas (Semper concrete lintels can still be seen above the openings 1989). Mallgrave translated Semper's writings into to strengthen the seismic resistance (Fig.1.). In fact, English, and this offered the public, including English- Edward Ford's cut-away details of wall construction speaking scholars such as Frampton and Wigley, the show some of Kahn's projects illustrating his use of opportunity to re-consider Semper's idea of enclosure. brick as a cladding to other constructional materials. Semper owed the Caribbean Hut displayed in the For example, thermal insulation and cavities do Great Exhibition of 1851 a great debt for the inspiration exist within the walls of the First Unitarian Church that the fundamental elements of architecture might (Rochester, USA); the Exeter Library (New Hampshire, require, as theoretical scholars Chih-Ming Shih and USA) uses a 12-inch thick concrete masonry wall to his colleagues (2011) observed. Semper asserted that support the exterior brick skin (Ford 2003). 10 JAABE vol.13 no.1 January 2014 Nan-Wei Wu usually arbitrarily linked to its linguistic names in different languages. People usually have to learn and remember the literature term for a particular object. The arbitrary link between the object and the 'name' has to be agreed and it cannot be found naturally. Therefore, in most cases in this research, the words, including 'symbols', 'the symbolic' and 'to symbolize', are deployed under this definition. Nonetheless, 'symbol' in some quotations might not be used with the same logic, as they were selected by quoted authors. For example, Robert Venturi deployed the term 'symbol' to describe some implied transformation of a particular idea, so that it rather refers to emblems or signs. 3. Robert Venturi & Denise Scott Brown and the Lewis Thomas Laboratory (LTL) Robert Venturi and Denise Scott Brown, influential figures in architectural Post-Modernism, contributed their critical perspective on modern architecture by showing their idea of the material use of construction Fig.1. Exterior Appearance of the Indian Institute of in many projects. Although Venturi employed the term Management, Ahmedabad plus ça change to describe his approach to architecture, David Bruce Brownlee (1991) also mentioned which is not against the general provocation of brick veneers in regard to the construction methods Modernist architecture, his advocacy may be different often employed by Kahn prior to the Indian Institute from the conventional understanding of Modernist of Management. Although Kahn's brick veneers still architecture (Venturi 1986). Nonetheless, Venturi's followed the main characteristics of masonry, that is, a understanding of the historical development of load-bearing construction system, Kahn's proposal of architecture gave him undeniable foundations which a non-ornamented combination of materials was very seriously affected his designs of VSBA's projects and hard to follow. also that of Kahn's projects earlier (Venturi 1965). It appears that it was extremely difficult to practise Scott Brown confirmed that Venturi contributed the pure and strict tectonic expression in building his knowledge of Mannerism to Kahn's design construction. Moreover, to classify tectonics and and inflection in form; "through [Venturi], [Kahn] atectonics dichotomously does not reflect the investigated the layering of enclosed spaces and the complex atmosphere and condition of architectural layered juxtaposition of walls and openings" (De Long establishment. In fact, although tectonics is considered 1991). She suggested that Kahn's project incorporated to signify some cultural and conventional meanings, Venturi's ideas. This provides a useful foundation for atectonics not only disturbs the loading and supports approaching Venturi's concepts: he was familiar with of construction but also signifies some implications the philosophy of classical architecture, and he also beyond the superficial symbols and meanings. More understood Kahn's logic of the nature of material very complex considerations, such as implication of the well. Nevertheless, he chose symbolic approaches for conventional understanding of materials and historical his surface design, and this is the opportunity for us to aspects, cannot be covered from the conventional reveal the transformation of atectonics from Semper's understanding of tectonics, but they could be derived theories to VSBA's projects. from specific atectonic expressions. However, to only Venturi appreciated an ornamented surface and classify this into two categories helps very little to pattern over the architectural elevation because it reveal these considerations and implications. could endow architecture with character. It seems The perspective of symbolic representations seems to that this understanding can be found in most of his provide a way of understanding material expression to projects. He argued that a building's symbols and form interrupt the strict dichotomy. The meaning of symbol express meaning and cited a cross-cultural example was originally defined in the field of literature theories, from Iraq to explain his idea. This particular building especially semiotics. Philosopher Charles Sanders can be constructed in reinforced concrete with pre- Peirce (1940) defined 'symbol' as one of the three key cast panels as it might be built elsewhere in the kinds of sign. While 'icon' is a visually identical sign world. But surface ornamentation can clarify its local of an original object, and 'index' is logically linked to features and characteristics, which must be different the object, 'symbol' is the sign which is only arbitrarily from buildings in other places. According to him, connected to the object. For instance, an object is this strategy of employing surface ornamentation can JAABE vol.13 no.1 January 2014 Nan-Wei Wu 11 "conform to the desires of [their] clients to [symbolize] As shown in Fig.2., the façades not only present the national character and express cultural heritage in their textile-like pattern of brick-like tile attachments but architecture" (Venturi 1986). also the dramatic change of material, namely the Other scholars' observations of VSBA's projects surface materials shifting from brick-like tiles to also reflect their intentions and concepts. For instance, marble slabs. Deborah Fausch argued that their decorated shed Venturi's exploration of superficial patterns can had proclaimed the "separation between structure be seen in the detail of the cladding. Comparing this and significance" as well as the "loss of deep truth of detail with typical brick construction, Venturi's project structure". She cited the keystone feature of their Wu shows that the vertical façade (a flinching elevation Hall as an example of their 'brick panel', even though of withdrawn window) does not have a continuous brick is an essentially load-bearing material rather than pattern. So, the view in Fig.3., whilst very similar a panel (Fausch 1996). This expression of material to real brick construction, still reveals itself as an use represents Venturi's disregard of the conventional imitation of brick construction. Here, the architects understanding of the property of brick as a load- detailed it in a way that would allow spectators to see bearing material. Venturi (1986) confirmed this attitude the superficiality of the finished façade. and considered the surface appliqué as "independent of the architecture in content and form" and "nothing to do with the spatial or structural elements". VSBA has designed several projects for Princeton University (New Jersey, USA), including the LTL for Molecular Biology (1983-85). This laboratory employs a variety of façade effects. According to Stanislaus von Moos, VSBA was only responsible for the façade and the design of the building's environmental strategy, whilst the rest of the design was handled by Payette Associates because of the building's specialist nature. Moos (1987) quoted a statement from the architects claiming that: "the variety and texture of the surfaces create several orders of scale, lending interest to the extremely long facade and complementing the traditional collegiate Gothic architecture". Fig.3. Detailed Analysis of the South Elevation of the LTL Careful analysis of the above illustrations exposes some of Venturi's ideas about façade composition. His façade design is generally seen as pattern making or playing with surfaces. Fig.4. shows that the façade of the upper floor represents a rhombus shape with marble and slate tiles which are attached in stretcher-bonded squares, while the wall between the windows on the different floors is decorated with rhombus shapes of Flemish bond and tiles of three different colors. If we consult some of Venturi's sketches printed in Brownlee et al.'s publication (2001), although not exactly illustrating the final design, they reveal that the design concept of the entrance façade is about Fig.2. Entrance of the North Elevation of the LTL superficially graphic patterns which gradually vanish According to Sanmartin (1987), Venturi achieved and become blank marble. considerable 'surface richness' in the façade of the Venturi's appreciation of symbolism is apparent. He LTL by employing brick, granite and a cast stone trim asserted that the works of Louis Kahn placed greater to echo surrounding buildings. The façade comprises emphasis on architectural form than on symbolism per bands of patterned brick with cast stone and large se. However, Venturi (1986) referred back to historical windows. The façade at the main entrance in the north contexts, concluding that "[it] encourages ornamental elevation alludes to such superficial surface treatment, surface over articulated form, pattern over texture, while the entrance in the south elevation highlights the and sometimes pattern all over". He claimed that alienation between the surface and wall construction. the schism between form and symbol in architecture 12 JAABE vol.13 no.1 January 2014 Nan-Wei Wu brick structure, like a ghost, actually does not exist. Therefore, the brick façade only presents superficial symbolism. 4. Atectonic Expression of Projects in Japan Unlike the case of Robert Venturi and Denise Scott Brown, who had been directly influenced by modern architecture and then responded to it critically with the concept of the atectonic, westernized Japanese architecture in the 1920s contributed another good example. In the 1920s after the Kanto earthquake, for instance, the fact that the Imperial Hotel in Tokyo (1923) designed by Frank Lloyd Wright (Fig.5.) successfully resisted the seismic damage affected the material choice of architecture built after that event. It was particularly obvious compared with the mainstream architectural design style before the 1923 earthquake. The Tatsuno style, the surface expression of which was composed of red brick and white band, was widely deployed for architectural design in Japan before the quake, but it was hardly ever employed after the disaster. Fig.4. Wall Section of the LTL should be reassessed as symbolism, and that it reflects its potential for diversity and cultural relevance. He argued that traditional symbolism can enrich architecture and that the use of ornamental patterns can trigger more diverse expressions. Venturi's engagement with symbolism and his approach to façade treatment can be deduced from Fig.5. Surface Expression of the Imperial Hotel his work. But Stanislaus von Moos emphasized the Instead, as already addressed, the structural and contradiction between a representative façade and a cladding materials of the earthquake-proofed Imperial functional structure. He also highlighted the differences Hotel were widely imitated. It should be clarified between the duck and the decorated shed as symbols that the structural frame of the Hotel was reinforced and applied symbols respectively. It should be clarified concrete, and the structure was clad with a yellow that the material use and technical expression of that scratched brick veneer and volcanic Oya stone (Akashi project was not peculiar in the pool of projects of this 1972). In other words, the yellow scratched brick firm. This expression has also been practised in many veneer and Oya stone were both ornamental surface of their other projects. finishings without any structural loading of the entire Moos (1987) shared Venturi's belief that façade building. As well as the structural reinforced concrete and structure should be treated separately, so that frame, the cladding of yellow scratched brick surface structure can be completely functional without needing and ivory stone were also copied after 1923. to consider aesthetic aspects. The façade therefore Some empirical examples could evidence this can be free to signify symbols which are meaningful transformation and simulation. Matsunosuke for architectural expression. Moos considered Moriyama and his Katakurakan exemplified the that Venturi's brick skin is only a mask covering a general shift from the Tatsuno style to the aftermath concrete frame. For Moos, the façade becomes a influence of the Imperial Hotel in westernized Japan symbolic representation. He used the concept of 'ghost with its awareness of seismic problems. Moriyama's architecture' to refer to "a symbolic architecture that professional development was typical in that context: no longer existed". In the case of LTL, the symbolic JAABE vol.13 no.1 January 2014 Nan-Wei Wu 13 diverse approaches. The Katakurakan project is located in a remote area, so it should have been fairly free for Moriyama to design in any style with any material. Nonetheless, he designed the project in a way that the simulation of the Imperial Hotel was easy to recognize. The incoherence between structural and cladding materials of the Imperial Hotel could also be confirmed in the use of material for the Katakurakan in Suwa, Nagano (1928). It can be easily filed as atectonic expression. However, some hidden messages would be ignored under this simplification of the categories. A different authenticity comes from atectonic expression, namely the representation of the symbolic signs of specific objects and the surrounding environment. Fig.6. Surface Detail of the Katakurakan 5. Discussion he was educated under the influence of Kingo Tatsuno, With the theoretical discussions that we reviewed who was the first generation architect in Japan, and he earlier and the practical projects that we have just practised in Japan's colonial overseas territories in his detailed, two arguments of atectonic expressions can be early career. clarified: first, the symbol of the origin or the context is As explained above, Moriyama was taught under more important than the structure. Second, the concept Tatsuno's effect on the architectural profession. of 'ghost architecture' was not randomly deployed by After his graduation, he not only wrote textbooks for Venturi but is echoed in various texts from architecture architectural education but also studied some projects to arachnology. finished in the early westernization period. With On the one hand, when Semper considered four Tatsuno's endorsement, he then had opportunities to essential elements of architecture, the hearth, the practise in colonial Taiwan where he was in charge mound, the roof and the enclosure were listed (Semper of several important projects. It was therefore not 1989). When Semper discussed architectural style, the surprising that Moriyama obeyed the Tatsuno style principles of dressing and incrustation were included; vividly during his practical time in Taiwan. However, even the knot, the loop stitch, and other forms of after he went back to Japan and after the Kanto textile art were researched as 'technical symbol(s)' and earthquake, red-white composition no longer existed in 'decoration of surfaces'. However, the structure was the surface of his designs. Instead, the yellow scratched hardly addressed in his architectural philosophy. In his surface took the main role, while pebbledash stucco understanding, the surface of the enclosure was the accompanied it. Moriyama's Katakurakan (Fig.6.) true wall, the boundary of space. The hidden structure, illustrates this material use clearly. although providing the function of hanging the surface, The Katakurakan was financially supported by the was irrelevant. Katakura corporation for the benefit of its employees, Semper's indifferent attitude towards the structure so that they could have some relaxation activities, was directly resonated by Venturi when he argued the such as bathing in a hot spring, in the Katakurakan. expression of concrete buildings in Iraq. He rather used It is located in an area far away from urban contexts. indifferent concrete construction ornamented with local Theoretically, the building style and material use features to display the characteristic of the building. could be used flexibly without concern for the The local contexts were presented, but not through relationship with those of other surrounding buildings. the constructive materials and methods. This attitude Nevertheless, the main building of the Katakurakan was also deployed when designing the surface of the was constructed as a reinforced concrete frame and its LTL. As they were only responsible for designing the surface cladding was composed of yellow scratched surface, no difficulties are experienced in finding that tile, pebbledash stucco and other stone slabs (Furuta the implication of the construction is absent. In this 1987). The link between Wright's scratched brick laboratory project, the surface did not even symbolize veneer and Moriyama's scratched tile cladding is easy the construction or function of the building; if it was to identify: the surface texture, color and arranged not just graphic design, it might only symbolize the pattern are identical; only the thickness and the different constructive materials, i.e. brick and stone, constructive methods are different. The similarity which were used for surrounding buildings of the between the Oya stone and the pebbledash stucco also Princeton campus. existed. This, on the other hand, actually leads us to the It is important to note that Moriyama's design second argument of the concept of 'ghost architecture'. represents the influence of western architectural This concept for design was not only used by Venturi, education in an Eastern milieu. Moreover, his but was also represented in Semper's and many other experiences in Taiwan should also mark relatively 14 JAABE vol.13 no.1 January 2014 Nan-Wei Wu historians' and archaeologists' texts. It described a Acknowledgements common belief in architecture: many people generally The authors sincerely appreciate photographers' believe that the Doric order of Greek classical generosity in providing their photographs for this architecture can be traced back to timber building, and research: Scott Norsworthy authorized the use of that some ornaments provide evidence of this. At the his photo of the Indian Institute of Management, end of the nineteenth century, this was named in the Ahmedabad ( http://www.flickr .com/photos/ archeological field as a 'skeuomorph' (March 1889). scottnorsworthy/4891990152/); Josh Dannenberg This ornamental method did not represent the present authorized the use of his photo of the Lewis Thomas tectonic approach but indexed to historical contexts. Laboratory (http://www.flickr.com/photos/79053737@ This provided the images of conventional memories. N00/3699439410/). Although 'ghost architecture', or 'skeuomorph', is one of the diverse expressions of atectonics, it Figure Credits 1. Courtesy of Scott Norsworthy. clearly exemplifies the hidden meaning and historical 2. Courtesy of Josh Dannenberg. background which could be implied in atectonic 3., 4. Drawn by the authors. expressions. 5., 6. Taken by the authors. In other words, on the one hand, symbolic ornaments have been chosen to clarify the particular characteristic Notes of the building. Although the symbols were usually Gottfried Semper's idea of spatial division and visual boundary are selected with some biases, this authentically illustrated in Semper, G. (2004) Style: Style in the Technical and Tectonic Arts; or, Practical Aesthetics. Los Angeles, CA, USA: represented architects' understanding of particular Getty Publications, p.14. cultural and social contexts. On the other hand, 'ghost As this study is based on theories generally developed in the architecture' also reflected what architects and/or the Western world, it is necessary that projects examined in this general public are used to experiencing. Although this research should be influenced by general Western thinking, so kind of authenticity does not directly refer to tectonic that the theoretical discussion could be reasonable. In addition, although the general dichotomy of the Eastern and Western worlds materials and their properties, it represents people's is arbitrary, it still represents different cultural backgrounds. Since understanding of a particular culture, local images and the purpose of selecting projects for this research was to reveal the surrounding environment. the atectonic expressions existing in different milieux, it might be In addition, Moriyama's surface did not represent acceptable to use the arbitrary dichotomy of the West and the East. its structure; rather, it represented the consequence of the post-quake material choice in Japan. The surface References expression differed from the structural presentation; 1) Akashi, N. (1972) Physical Research into the Old Imperial Hotel. Tokyo: Tokodo Shoten. [In Japanese] instead, it authentically showed the impression of 2) Brownlee, D. (1991) The Houses of the Inspirations. In Louis I. safety construction. Although Moriyama's scratched Kahn: In the Realm of Architecture. 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Journal
Journal of Asian Architecture and Building Engineering
– Taylor & Francis
Published: Jan 1, 2014
Keywords: atectonics; principle of dressing ( Bekleidung ); VSBA′s Lewis Thomas Laboratory; Moriyama′s Katakurakan
