To Kenneth Frampton’s critique of architectural waste as exemplified by OMA’s CCTV Headquarters in Beijing, Eric Owen Moss proposes the exterior of Mies van der Rohe’s Seagram Building, initiating a debate on excess, elegance, structure, and representation in early modernist and 21st century architecture. To Moss’s suggestion that the idea of critical regionalism might be a non sequitur, Frampton responds that while vernacular traditions are no longer accessible, architects can use traditional responses to local conditions to respond constructively to the trauma of modernization. They discuss whether there is any possibility for revolutionary architecture today. The debate concludes with questions from the audience concerning the CCTV, the new Barnes Foundation building, clients, and current architecture in Los Angeles.
Video Archive | Modernism (113)
After a brief homage to Raimund Abraham, Kenneth Frampton outlines the trajectory of critical regionalism, from the first edition of Modern Architecture: a critical history (1980), through “Critical Regionalism: Six Points for an Architecture of Resistance” (1983), and discusses some projects that illustrate his ideas by Álvaro Siza, Tadao Ando, and Jørn Utzon. Frampton discusses how he began to formulate his ideas on more recent architectural developments in the 1994 reprint of Modern Architecture. He emphatically rejects the Beijing CCTV Headquarters (2012) and National Stadium (2008) as irrational and unethical. As an alternative to this kind of globalist practice, Frampton surveys contemporary projects by architects working in developing nations, including Jan Olav Jensen, Haikkinen-Komonen Architects, Hollmén-Reuter-Sandman Architects, Dick van Gameren Architecten, Richard Murphy Architects, and Siza’s Iberê Camargo Museum in Brazil (2008). Frampton concludes by discussing Bijoy Jain and Studio Mumbai, stressing how projects such as the Palmyra house (2007) demonstrate a strategy of integrating design craft which might provide a viable path between globalist phantasmagoria and uncritical traditionalism.
Joan Ockman begins a discussion of Arne Jacobsen’s SAS Royal Hotel, Copenhagen with a description of what it would have been like to arrive in the lobby in its original state in the 1960s. After reviewing Jacobsen’s work before the hotel, she discusses the site, design and initial hostile response in Copenhagen. Ockman discusses Jacobsen’s control of every element of the hotel’s design, while pointing out moments when Jacobsen subverts the seemlessness of the thoroughly-designed environment with paradox and wit. She concludes by speculating that Jacobsen’s hotel might have been a source for the bewildering modernist locations of Jacques Tati’s Playtime.
Jeffrey Kipnis comments on the SCI-Arc sensibility, and the importance of extending its attitudes and ideas into an independent voice. He stresses the value of drawing parallels between seemingly unrelated fields. Citing Le Corbusier, he discusses the effort of producing an effect and the tendency of effects to go out of fashion.
Jorge Francisco “Pancho” Liernur, Dean of the School of Architecture at the Torcuato Di Tella University in Buenos Aires. Liernur discusses the modern movement in Argentina through the work of the Austral Group, including Antonio Bonet, Juan Kurchan and Jorge Ferrari Hardoy. Liernur discusses projects ranging from Hardoy’s Butterfly Chair (a.k.a. BKF Chair), to buildings and urban planning.
Marcelo Spina introduces Jorge Francisco “Pancho” Liernur, Dean of the School of Architecture at the Torcuato Di Tella University in Buenos Aires. Liernur outlines the history of modernism in Argentina, especially the impact of Le Corbusier’s urban design.
Liernur discusses the work of the Austral Group, including Antonio Bonet, Juan Kurchan and Jorge Ferrari Hardoy, from Hardoy’s Butterfly Chair (a.k.a. BKF Chair), to to urban plans.
Liernur discusses the influence of Le Corbuser and CIAM. in Argentina, expanding the list of Argentine designers who could be considered connected to Austral.