Architecture: Have a little patience!

Architecture carries with it the germs of the past. Not only is the redistribution in space—according to ancient and often pre-existing rules of discourse—a matter whose age is often confused with the making of the world; But, more than that, we describe this slow, fleeting preoccupation of the individual with all (in making or, especially, in use) with these old words. Architectural terms are the setting, like the reality it describes, from the past. Again: language design, expression and use of spaces – as the compiler concerned with the etymology of words can prove – descendants can be quickly identified, in flawless descendants, even in “major” languages. Architecture is twice as old, right from the start: a) by nature and b) the language it captures. Let’s explain:

a) Nature’s argument leads to a potential predicament, if we do not know how unpredictable the past is. In order to search for the first house, or first architecture, we must determine, at the same time as the search is made, the origin of the phenomenon identified in this way. The huge literature on origins – from theses from Vitruvius to at least Le Corbusier – has been sharply present in the space of architecture theory and space philosophy in recent years. Perhaps this is why it is useful to organize the perspectives proposed today around the few classes of “identified” assets, as we repeat, from Vitruvius so far, in order to be able to advance.

b) Archie – the principle, origin and antiquity are expressed in the name of the profession. As regards the origin of the profession, architecture–a term which, for reasons I will explain at once, is better than that which has come to us through French mediation–is then the method, verified in time, and written with strong gems, in which we assemble the raw materials of them (stone blocks and bricks) or sub-assemblies pre-hung between them. And we group them all around a project with a higher level of complexity (the whole). So that each of these levels of expression, as well as the whole, perceives – dynamically and explicitly – the multiple tensions resulting from the transmission of the tensions of ascent (to heaven) and gravity (to earth).

Corollary: more than a great, master of the team of craftsmen able to complete this process, the architect was also the only one capable of suggesting – before his mind and foreshadowing, i.e. towards the future – from a good beginning to the end of all the operations associated with the construction (i.e. start-up), the edifice entire. Before beginning, by design, and up to a gradual rise, the other builders are seen, the house is complete and safe (only) in the mind of the architect. Its fertile seniority in the secrets of the profession, its integrative authority and ability to work with the foundational principles, concepts and rules of the space allow the architect – as long as he possesses the above components through a) immersion in the culture of the profession, through b) direct experience and c) the ability to continue in Experimenting with the horizon of tradition – to control the future.

Architecture as a stall

In the long run, both in the private sense and in the conceptual sense of the phrase, which is traditionally associated with architecture, there are founders of both founders and architects and builders in sending a time capsule into the future. Strictly speaking, immortality is not sought by those who build architecture, but by it, as a means, the exorbitant slowness of decomposition; Deliberate, deferred entropy and delay bean — hilarious, after all — ahead of its might. Architecture, posthuman in the sense of its “time divided in half” – measured in successive generations, not individual lives – is a theater of memory. In this general hypostasis, they are both mausoleum, i.e. permanent formulation on the theme of the memorial tomb (Loos, contemplating the tomb in the woods, was noted, but also Baudrillard, when he claimed that all architecture had something of a tomb) and monumental (Hegel said) by the ‘tectonic’ character The same (in the sense of analogy with the motions of tectonic plates) for the motions it makes over time. Architecture is a time condenser before and during construction – and the more, the better – which then returns to society in the long run.

But there are also situations of irreparable melancholy, which do not seem to assume the nature of the relationship with architectural time. Like life time, it involves making and dismantling in those in which the house is built. How can you resist it? Here are some “solutions” – all inevitably bitter and, of course, actually a simple soothing.

The first solution is a pattern of retardation: it is about a temporal regression utopia. For example, before the mall was built on it, a distinguished architect from Bucharest suggested not only the restoration of the material object of the Văcăreşti Church as it was at the time of the demolition (which, to some extent and strictly from a negative perspective, can be understood); Moreover, he wanted to rebuild the monastery with the materials and building techniques of the time (but, unfortunately, in the absence of the “original” / original craftsmen). At the time of the demolition, the monastery was at the end of a long restoration process after the 1977 earthquake. One rebuilt oneself.

We remember that this was also the view of those who restored the northern monasteries of Moldova in the 1960s. The churches were returned to an “original” stage, but not well documented, in the process the later stages of the Stefanian or Rareşti institutions were destroyed. These stages – as you could say they all happened under control or, in any case, under the stylistic influence of the Austrians – will be “changed”, as restorers full of patriotic fervor believe, the “pure” foundations of “us”. A simple comparison of Neamţ before and after The restoration frightens us today, but it would have made Viollet Le Duc proud, the one who left us the project of an “ideal” Gothic cathedral, more Gothic than the failures of the original Middle Ages.

The second solution is the Time Capsule. Architecturally, you will be able to send messages in the future. How? By building those things which remain for a longer period of time than is necessary for the “normal” decomposition of the house, only then they become either a) a beautiful and highly informative ruin of the civilization they built, or b) completely contemporary with the future, because it is timeless.

I once went to the Musée d’Art Moderne in Rome, an architect’s exhibition displaying his old books (the fifties and sixties) which turned out to be just years (it should have been done before in 2000) until we fell asleep upside down lying in the cosmos or even nursed Mutant flocks on Mars, each living in an unconditional geodesic igloo. It would have been better on Earth: the cities would be spherical, no longer local sites, you would walk among the clouds (think Buckminster Fuller at the time); In any case, they will rise from the ground, and look down upon the decaying ruins of our ancient settlements (Yona Friedman). Modern architecture is a master in this endeavor. We look at it now, as it was in its early days, and notice that the cars, and the people around it have long since gone out, but the way it still faces time is strange, as if it is willfully ignoring it. of its existence. Modern architecture believed that it had abandoned decoration and discovered the elixir of youth without old age and life without death.

Or it wouldn’t be. This Roman exhibition proved one thing: even this end of the history of architecture, which was then given as secure and permanent, did not last longer than others. It is so late that even the ashes of the bodies of those who dream of living in the universe today will leave its omnipresent space only at the expense of terrible – and exorbitant – financial efforts …

But Speer’s “ruin value theory” remains unparalleled in being the most obvious way to confront time – in his hands. Drawing a perspective for Zeppelinfeld the way German people could see it for over a thousand years, Speer had a vision of the ruins of the Reich destroyed over time; However, they had to be great. Accepting the deterioration of the built material as inevitable, knowing that his buildings would have to go out of existence, Speer hoped that by using the noble materials, something of the splendor would remain with these materials, to be interpreted by future generations by the authors of architecture and its enduring significance. A great civilization leaves impressive ruins, as we see research in Rome since the Piranesi inscriptions. Hitler saw in this theory of the value of the ruins a “luminous logic” and immediately demanded that all those buildings erected under his direct supervision be conceived from this millenarian perspective.

They, too, may have noticed one of the most important meanings of the biblical text, which explains the relationship between man and the construct that phenomenologists have observed around the same time. They are not only from one being, but also die together. But, more than that, the Bible tells us, that the worst punishment against an object (individual or collective) is not complete as long as you do not destroy its buildings (house, temple, palaces, city). And now some are punishing terrorists by demolishing their homes as well, in order to completely erase their tracks. Currently, others are “discrediting” people by demolishing their buildings and apartment blocks.

Therefore, the delay is embodied in architecture, as a longing for the original. Or as a technological disability in our country. Or as a lack of professional culture in the field. Or as the absence of experience and advanced research, and the longing for innovation and experiment. And when he experimented, like the avant-garde, he discovered, in fact, all antiquity, antiquity, that is, beginnings other than the Greco-Roman ones …

Augustine Ewan He is an architect and university professor at Ion Minko University of Architecture in Bucharest. His most recent book: Cornerstone – Sacred Architecture, from Brancovino until today, Doxology Publishing House, 2020.

Leave a Comment