|
|
It is not
a long time ago that typology was seen as a most promising new approach
to design.
The interest in typology as a new design strategy was probably one
of the most influential challenges in the post second world war
development of architecture. In a situation dominated mostly by a narrow
modernist agenda, based on structural and functional determinism,
typology appeared as a healthy corrective to the deterministic vision of
architectural order and even more to a growing relativism of design
principles and values. However the new, more subtle and critical
thinking, did not in the end change the naïve objectivism of most modern
trends. What brought typology on the scene and to such a relative
prominence?
We have to look for an answer to 18C, when the transformation and to a
great extent suppression of traditional architectural thinking created a
vacuum filled with new instrumental principles. Among the most
influential were character and type. Character was known already to the
Greeks particularly in its relation to ethos. It played an important
role in Aristotle's Rhetoric and Poetics, was developed more explicitly
in Theophrastus' Characters, and in that form had a great influence on
the development of the rhetorics of Cicero and Quintillian and the
poetics of Horace. Character became an important critical term again at
the end of the seventeenth century. In 1688, Jean de la Bruyere
published his Les Characteres de Theophraste, traduits de Grec, avec
les Characteres ou les moeurs de ce siecle, followed by an important
second edition of Le Brun, Conferences sur l'expression generale et
particulier, published in 1698 (originally it was a lecture
delivered in 1669). Architectural character as a critical term was
derived mostly from the rhetorical tradition and from the treatises on
painting (study of individual expressions and physiognomy).
Both terms, character and type, acquired new importance during the
second half of the 18C. It was at that time that type emerged as a
result of the historical and aesthetic transformation of an older term
character.
The historical origins and nature of character
The deeper meaning of character was not entirely lost. Its presence and
significance is still apparent, though sometimes only indirectly, even
today, for instance in our concern for a proper relationship between the
purpose of a building and its appearance, or in our care for the right
choice of materials and structures in relation to the overall nature of
a particular building or space. What the 'presence and significance' of
character really means, is nevertheless very often obscured and partly
lost in the introverted and highly personalised version of character
accepted today. Nonetheless, we cannot ignore the fact that it is the
prime, if not the only link still preserved with a more authentic
tradition of representation. It is important to remember, that character
is still closely linked with its earlier equivalents convenance
and bienseance. Both terms are inherent to a tradition which
originated in classical decorum and of which they are simply later
equivalents. In one of his earlier texts, J.F. Blondel mentions this
correspondence: 'convenance (suitability) ought to be regarded as
the most essential aspect of building; by means of it the architect
ensures the dignity and character of the edifice. What we mean here by
convenance is called by Vitruvius bienseance (decor)
'. In character we clearly see a tendency to move towards the surface of
a building or its interior, towards the experience of appearances, while
in convenance and bienseance there is a tendency to move
into the depth of architectural reality, towards its order understood
still in terms of ethos. It is interesting to recall that the Greek term
for character is ethos. This points also to the Greek equivalent of
décor (decorum, bienseance), in the term prepon –
expressing what is proper. Only that which is good can be proper and, in
that sense, 'the morally good is nothing else than a harmonious
fulfillment of human nature, which becomes part of the beautiful,
manifested in the particular as prepon' In its fully articulated
sense, prepon (decorum) means a harmonious participation in the order of
reality, and the outward expression of that order.
It is to that tradition, radically changing in the eighteenth century,
when it became for the first time the dominating concept in
architectural thinking, that character explicitly belongs.
The dominating role of character was categorically emphasized, among
others, by Germain Boffrand when he wrote 'a man who does not know the
different characters, and who is unable to sense their presence in his
buildings, is not an architect'. The eighteenth century notion of
character was derived in the first stage largely from contemporary
rhetoric and from the treatises on painting. The renewed interest in
individual expression and physiognomy, treated in the earlier tradition
as secondary issues, was probably one of the main motives behind the
modern study of character. The introduction of character into
architectural thinking was not without difficulty.
It was a notion which has emerged from a vast cultural field
encompassing not only architecture and painting, but also rhetoric,
poetry and philosophy was loaded with a range of meanings which
architecture on its own could not readily absorb ( remember the loss of
the traditional close relation and cooperation between architecture and
other arts). The simplification of the earlier modes of representation
was a first consequence. The aestheticization of character was a second.
This is clear in Boffrand's statement, which may even be taken for a
definition of character:
Architecture, although its object seems only to be the use of that which
is material, is capable of different genres (characters or types?),
which serve to animate its basic solutions by means of the different
characters that it can express. A building expresses through its
composition, as if on a stage, whether the scene is pastoral or comic,
whether it is a temple or palace… It is the same in poetry: here also
are different genres, and the style of one does not contradict the style
of the other. Horace gave us excellent principles for this in his Art of
Poetry.
The ambition to subsume the traditional nature of architecture into the
aesthetics of character created an illusion of order, but in the long
run proved to be the basis for relativism, arbitrariness and confusion.
The general aesthetisation of character made it vulnerable to the
operations of taxonomy in which it became possible to isolate individual
manifestations of character from the context of tradition and from the
culturally established norms. This was already evident to J.F. Blondel,
who wrote 'after all it matters little whether our monuments resemble
former architecture, ancient, gothic, or modern, provided that they have
a satisfactory effect and a character suited to each genre of edifice.'
(The critical turning point in the development of modern art was the
transformation of traditional poetics into aesthetics.)
The nature of the transformation was most clearly summarised by Hans
Georg Gadamer: 'for now art’, he writes, ‘as the art of beautiful
appearance, was contrasted with practical reality and understood in
terms of this contrast. Instead of art and nature complementing each
other, as had always seemed to be the case, they were contrasted as
appearance and reality'. In aesthetic experience the work of art loses
its place in the world to which it belongs in so far as it belongs to
aesthetic consciousness. On the other hand, this is paralleled by the
artist also losing his place in the world'. In aesthetic experience
nothing is known about the objects which are judged as beautiful. The
nature and meaning of the object does not affect the essence of
aesthetic judgement. As a consequence the work of art has nothing to do
anymore with truth, it is only a beautiful form, a "mere nodal point" in
the possible variety of aesthetic experiences'.
The deeper relation of character and the inherited culture was
eventually replaced by a detached image (type) which could be
manipulated with a much greater degree of freedom and persuasive power.
As Blondel admits, 'a building can by its appearance (aspect) take away,
move and so to speak raise the soul of the spectator, carrying it to a
contemplative admiration which he himself would not be able to explain
at first sight (coup d'oeil) even though he were sufficiently
instructed in a profound knowledge of art. The emancipation and
formalization of character requires a more focused and precise
definition of appearances, a demand fulfilled by the notion of type in
its relation to the modern notion of style. J.F. Blondel was one of the
first to use this term in its modern sense. In his understanding style
can be seen as a culmination of the history of character. 'We have
tried', J.F.Blondel writes, 'to present a precise idea of what is to be
understood by an architecture whose ordered arrangement (ordonnance)
distinctly presents a style, an expression, a particular character (i.e.
type).
It is clear that in this context type is only a partial representation
of the deeper structure and content of architecture. In contrast with
the depth and richness of the situational nature of architecture, type,
seen as a self-sufficient notion, may be instrumentally useful but
remains culturally problematic. How problematic the instrumental notion
of type, particularly in its relation to style became, is particularly
clear in the period of historicism, anticipated by J.F. Blondel, who
writes: 'There is no doubt that one can arrive, aided by rules, by
reason and by the taste for the art at the true style, that assigns to
each building the character (type) that is proper for it and it is by
that alone that one can sense masterpieces.' The history of the
nineteenth century shows what the expected masterpieces were like. The
emancipated nature of type as a condition for its possible manipulation
was expressed very clearly by Ribard de Chamoust (1783) in his treatise
on the foundation of the new French order: ”I mean by this word type the
first attempts of man to master nature, render it propitious to his
needs, suitable to his uses, and favourable to his pleasures. The
perceptible objects that the artist chooses with justness and reasoning
from nature in order to light and fix at the same time the fires of his
imagination I call archetypes.”
The transformation of character into a type via typicality of character
can be seen in the so called ‘l’architecture parlante’ for instance in
the works of Boullee. Court de Gebelin speaks about the image of
physical objects that “speak to the eyes”.
The dream of enlightment to construct artificially a new perceptual and
intelligible world of typical forms – typology, determined in different
ways and very often under a different name the development of
architecture in the last two hundred years (see historical revivals,
modern elementarism, industrial object typique, neue sachlichkeit,
modern design methodologies and morphologies etc.). The most problematic
assumption behind all typologies is the belief that explicit knowledge
embodied in the fixed a priori image can substitute historical
tradition, and that this tradition can be replaced by a direct imitation
of types, which represent only idealised essences of historical
experience in itys density. Once the type has been isolated from this
density it becomes a derivative representation – a mere illusion of
reality.
Type may appear at the end of the creative process but not at the
beginning.
The typololgy of Aldo Rossi
One of the best illustrations of the true nature of type and typology,
is the work of Aldo Rossi. What is most clearly illustrated in his work
is the ambiguity of type, its oscillation between its origins in the
culturally situated character and object-like reality which can be
defined and classified. This oscillation is clearly apparent in the
contrast between his drawings and executed buildings and even more in
the contrast between the final version of his projects and the richness
of their background which consists of sketches, collection of curiosa
and surreal setting of the personal space of his flat and studio. The
oscillation, mapping the ambiguity of the type and typology, can be seen
as a result of the modern crisis of an object of Breton and de Chirico.
It is rather characteristic, that in the works of Rossi the individual
design steps end up almost without exception in the domain of typology
and type.
In his autobiography Rossi recollects his early intentions and emerging
philosophy of design, he writes: ”I searched for the fixed laws of a
timeless typology. I saw courts and galleries, the elements of urban
morphology, distributed in the city with the purity of mineralogy. I
read books on urban geography, topography and history, like a general
who wishes to know every possible battlefield – the high grounds, the
passages, the woods. I walked the cities of Europe to understand their
plans and classify them according to types.
In his Architecture of the City he writes: “We must begin with a
question that opens the way to the problem of classification – that of
the typology of buildings and their relationship to the city. This
relationship constitutes a basic hypothesis of my work and one that I
analyse from various viewpoints always considering buildings as moments
and parts of the whole that is the city. This position was clear to the
theorists of the Enlightenment.“
Type is thus a ‘constant and manifests itself with a character of
necessity; but even though it is predetermined it reacts dialectically
with technique, function and style as well as with both the collective
character and the individual moment of the architectural artefact.
…Typology is an element that plays its own role in constituting form; it
is a constant’.
Though Rossi does not explicitely acknowledged the sources of
inspiration of his own position, it is clear that the architectural
discussions in his time and the influence of some older contemporaries
such as Muratori for instance was decisive.
Foundations of typology in the work of Savero Muratori
Muratori Saverio (1910-1973) was one of the first to formulate the
typological interpretation of cities and is considered to be also one of
the fathers of the international studies in urban morphology. Muratori
responds to the impoverishment of the discipline, of technical planning
in contrast to the richness of historical foundations. His background
sources and inspirations was the generation of Gustavo Giovannoni,
Calandra, Fasolo, Piacentini. The main idea of his approach was
‘Operative history’ (operante storia)used first consistently in the
study of Venice published as Studi per una operante storia urbana di
Venezia (1959). The controversial nature of his approach was apparent
already in 1954 during his first teaching appointment in Rome where he
became professor of architectural composition, followed soon by student
revolt and boycott. His closest disciples were Caniggia and Maffei who
published his writings under the title Ragionamenti di Tipologia.
Muratori studied what he presumed to be a cohesion between the form of a
site, the houses and the quarter in a given part of the city. This,
according to Muratori, was an important key in revealing the ideal
structure of the city in question. Muratori spoke of ‘Il valore
fondativo dell’architettura come proiezione concreta ed organica del
mondo spirituale dell’uomo’.
In his morphological analysis, Muratori used two instruments. Firstly,
for a precise
historical reconstruction of the houses in a given quarter of the city,
historical maps were of great importance to him. For Muratori, these
maps not only contained geographical or historical information, but in
an almost mystical way, the maps also enabled an intuitive perception of
the cultural individuality of a city. For example, in Venice he
reconstructed the form and structure of its quartieri and
sestieri during the Gothic, Renaissance and Baroque period: the
decisive moments in the history of the city, Muratori argued, that each
period contributed to the ideal form enclosed in the buildings of the
city. Secondly, with his theory, Muratori took a stand against the
fragmentation and the loss of unity of modern times. It is also from
this perspective that the study of cities was so important for him. The
historical city was the summa of unity, a spiritual unity, or an
expression of a collective consciousness, which became manifest at the
level of material reality. The challenge of modernity was important to
regain the ability to perceive this essence, according to Muratori. It
was all a matter of ‘la lettura del reale’ – a correct reading of
reality – leading the architect to recognize the ‘truth’ hidden in the
urban texture.
The idealist and systematic nature of Muratori’s thinking had led him to
transform a positivist concept into an a priori notion. Due to a longing
for synthesis and wholeness, Muratori was found to have turned the
notion of the organism into a meta-historical, absolute form. For
Muratori the organic form of a chapel, for example, was the reflection
of a meta-historical archetype – and these archetypes should dictate
each concrete architectural form in the present. Thereby the positivist
notion of organic form, which by its very nature is immanent, is falsely
given a transcendent interpretation.
The relation of typology and form
Form is a
very elusive term. On the one hand, it belongs to sensible reality and
may appear as its very essence, but it is also an invisible concept. The
oscillation between the visible and invisible, real and the possible,
the imaginative and the imaginary, the concrete and the abstract is what
makes form such a powerful and at the same time elusive and difficult
concept.
As a concept, form has its origin in the Aristotelian understanding of
creativity (poiesis) in terms of matter and form. Matter (hyle)
is everything that can be formed, while form was originally seen as
idea (eidos), which in the sphere of visual reality appears as
icon (eikon). In the process of creation or making the forming
power of idea was known as morphe hence morphology and the process
itself as hylemorphism. Morphe is a change – a process of coming
into appearance. Throughout most of the history of the visual arts,
form, (Latin translation of morphe) as a critical notion, was hardly
used. The attempt to reduce the diversity and richness of the visual
world to 'visual form' took place only in the late eighteenth century.
Until then a whole spectrum of terms such as paradigm, typos, schema,
symbolic imagel, allegory, emblem, impresa, figura, were used to grasp
the meaning that was later given to the simple notion 'form'. All these
terms should be seen as particular revelations of a primary
(transcendental) reality (divine order, the world of ideas, etc.), and
only in that sense were they also revelations of the invisible forms
(ideas) and their particular visible manifestations and embodiments.
These need not be discussed in detail. Suffice it to understand that all
these terms participate – in one way or another – in the formative power
of invisible forms (ideas). This property we may describe as their
structural (or morphological) aspect, which becomes visible as a
recognisable and meaningful representation. This in turn may be
described as their physiognomic or iconic aspect.
The critical and rather problematic tendency in the development of the
physiognomy of representation, particularly in architecture, is a
tendency toward idealisation. i. e. formalisation Through idealisation
(formalisation) visible representation moves closer to ideal forms which
thereby acquire a status of appearance rather then substance of reality.
Urban morphology
Muratori and Conzen were the founders and fathers of urban
morphological studies, that became already in their lifetime an
influential international movement, International seminar of urban form
(ISUF) or, Seminaire internationale des forme urbaine(SIFU).
New centres soon emerged in Genoa, Florence, Venice and in US at
Berkeley, Penn State, in France it was mainly the Versailles school, (Panerai,
Castex and also Lefevbre, Chastel, Boudon).
There is a common assumption, that city or town can be “read and
analysed” via the medium of its physical form. Morphological
analysis is based on the following principles:
-
Urban form is defined by three fundamental physical elements:
buildings and their related open spaces, plots or lots, and streets.
-
Urban form can only be understood historically since the elements of
which it is comprised undergo continuous transformation and
replacement.
Thus
form, resolution and time constitute the three fundamental
components of urban morphological research.
From typology to hermeneutics
Even the most recent “reformed” typologies and morphological studies
do not offer more then encyclopedias of forms and formal configurations
devoid of true historical context and understanding. Typology relates to
a historically evolved architectural order and physiognomy in the same
way as historicism does to tradition. In both cases the primary reality
of meaning is exchanged for a secondary reality of problematic and very
often meaningless certainties. The restoration of tradition from the
domination of historicism must be therefore completed by the restoration
of historical reality of experience and its typicality from typologies.
The typicality of experience in contrast to a type is a historically
evolved phenomenon which cannot be understood by reference to form only.
It is a sedimented and embodied meaning which always precedes a
particular form. Reading, for instance, is essential to the vision of a
library, but always transcends it, it can take place elsewhere or even
without it. On the other hand the concept of a library without a vision
and understanding of the conditions of reading, borrowing of books and
the inner life of the library is empty. Library seen as a type is not an
original reference, it is always preceded by the typicality of
particular experience of using the library.
The typicality of experience has its origins in a situation which is
also the source of its stability and meaning. In a situation people are
not only doing or experience something, but it also includes things that
contribute to the fulfilment of human life. Situations represent the
most complete way of understanding the condition of our experience of
the surrounding world and the human qualities of the world. They also
endow experience with durability in relation to which other experiences
can acquire meaning and can form a memory and history. The temporal
dimension makes the process of differentiation and stabilisation of
situations more comprehensible. The deeper we move into history, the
more situations share their common precedents until we reach the level
of myth, which is their ultimate comprehensible foundation. Myth is the
dimension of culture which opens the way to a unity of our experience
and to the unity of our world. In its essence, myth is an interpretation
of primary symbols which are spontaneously formed and which preserve the
memory of our first encounters with the cosmic condition of our
existence. The mediated persistence of primary symbols, particularly in
the field of architecture, contributes decisively to the formation of
secondary symbols and finally to the formation of paradigmatic
situations. The nature of paradigmatic situations is similar to the
nature of institutions, deep structures or archetypes. Paradigmatic
situations have their ultimate source in the praxis of everyday life and
in the tradition of common sense.
The role of common sense
Situations are dependent and closely related to habits, tradition
and customs.
Gadamer sees the primary role of humanist tradition in bildung, common
sense, taste, and judgment. Common sense links the modern hermeneutics
with the work of Giambatista Vico. Gadamer “I have rightfully claimed
for my own work the testimony of Vico”.
And further in Truth and Method: “There is something immediately
evident about grounding philosophical and historical studies and the
ways the human sciences work on the concept of the sensus communis. For
their object, the moral and historical existence of humanity, as it
takes shape in our words and deeds, is itself decisively determined by
the sensus communis.”
Common sense is a knowledge of the concrete and it is concrete knowledge
because it is a sense acquired by living in a concrete community and
determined by upholding the value of communal traditions. Common sense
is historical in that it preserves tradition and not just as a datum of
knowledge but as a principle of action.
Common sense is related to the meaning of common place and thus to the
topology of being.
Vico writes: ”Human choice, by its nature most uncertain, is made
certain and determined by the common sense of men with respect to human
needs or utilities, which are the two sources of the natural law of the
gentiles.” (NS 141)
“Common sense is judgment without reflection, shared by an entire class,
an entire people, an entire nation, or the entire human race.” (NS 142)
(Vico common sense and Heidegger pre-understanding, the structure of the
latent world).
The example of typical situation
If we look closely at a concrete example – a French café for
instance – it is obvious that its essential nature is only partly
revealed in its visible appearance; for the most part it is hidden in
the field of references to the social and cultural life related to the
place. Any attempt to understand the character, identity or meaning of
the situation, and its spatial setting, using conventional typologies is
futile. The essential reality of the situation is not entirely revealed
in its visible appearance, it cannot be observed or studied just on that
level.
Its representational, ontological structure can be grasped through a
pre-understanding based on our familiarity with the situation and with
the segment of world to which it belongs. Pre-understanding in this case
is a sedimented experience of the world acquired through our involvement
in the events of the everyday life. The identity of the French café is
to a great extent defined by its institutional nature, rooted in the
habits, customs and ritual aspects of French life. The formation of
identity is a result of a long process in which the invisible aspects of
culture and the way of life are embodied in the visible fabric of the
café in a similar way as is language in the written text. The visible
‘text’ of the café reveals certain common, deep characteristics, such as
its location, relation to the life of the street, transparency of
enclosure, certain degree of theatricality expressed in the need to see
the life of the outside world, but also a need to be seen in it like an
actor, the ambiguity of inside and outside expressed not only in the
transparency of enclosure, but also in the choice of furniture etc.
These are only some of the characteristics which contribute to the
identity and meaning of the French café as a culturally distinct typical
situation. In hermeneutical understanding of design the typicality of
primary human situations are not only a point of departure but a
constant measure of the success or failure of the results.
|