Saturday, January 30, 2010

Scott's Six(7) Fallacies

For a slightly more detailed description of Geoffrey Scott's six fallacies of architecture (with the addition of his own fallacy) click here. I'm still developing my understanding of the fallacies and these examples. I am not sure about a couple of them, most notably the empathy fallacy, and the Porphyrios gallery in Nebraska (you have to admit the building is gorgeous).
Romantic Fallacy (Poetic)
Modern Example: 

Villa Savoye, Le Corbusier. It represents its own age as an association with a machine itself.

Traditional Example: 

The Duncan Gallery, Dmitri Porphyros. The New Schinkel – Germany’s version of Greek Revival. He makes good architecture through allusion to very specific precedents. This architecture can be considered good on the grounds that it is beautifully constructed, is a villa in the country, and because we associate it with Greek architecture, or Greek Revival architecture, also on other very good grounds. Does Porphyrios really believe classism is not a style? He might also be placed under the mechanical fallacy. Or it could be argued that because Schinkel really was great Porphyrios can get away with imitating him, especially since he does it so well.

Romantic Fallacy (Naturalism and Picturesque)
Modernist Example:

(Naturalism) Einstein Tower, Potsdam, Erich Menelsohn. Uses natural curves and shapes.

Traditional Example: (Picturesque) 

New Piazza in Alessandria, Italy, Leon Krier. Expressionist and associative, very picturesque. Trying to make it look old and built up over time. Eclectic.

Mechanical Fallacy
Modernist Example:

860–880 Lake Shore Drive, Meis van der Rohe. They represent their structure.

Traditional Example: 

Design for a Concert Hall, Viollet le Duc. Most current traditionalists get this fallacy, except for early traditionalists, Aldo Rossi? Traditional forms but allowing them to be machine like----postmodernism.

Ethical Fallacy
Modernist Example:

Unite d’Habitation, Corbu. This was supposed to make moral citizens.

Traditional Example: 

Zeppelinhaupttrib├╝ne, Albert Spier

Biological Fallacy
Modernist Example:


This shouldn't be hard, just use your imagination, maybe the "Cloud Pavilion" in Zurich.

Traditional Example:

West Dean Visitor Center, Christopher Alexander. A windowsill at the wrong height makes you sick. Scientifically grounding traditional architecture.

Academic Tradition
Modern Example: 

Guggenheim Museum, Bilbao Frank Gehry. No theory, no tradition.

Traditional Example: 

St. Thomas Aquinas Chapel, Duncan Stroik. Cut and past Palladio w/Spanish Colonial?

(7) Empathy Fallacy

Modernist Example:
 Goetheanum, Rudolph Steiner

Traditional Example: 

Heurtley House, Frank Lloyd Wright

Tuesday, January 26, 2010

Hitler Finds Out Scott Brown Won Massachusetts Senate Seat

I can't remember if I've posted one of these re-titled clips from the German movie Der Untergang before, but this one's pretty good. Thanks to Der Wolfanwalt for finding this one. 

Wednesday, January 20, 2010

The Architecture of Humanism

After a reading of Geoffrey Scott's seminal book, The Architecture of Humanism, an analysis of modern architectural criticism, I have condensed the six fallacies attending the assessment of buildings that he posits, as well as his own: the fallacy of empathy. Though published almost one hundred years ago, they are still as relevant today, if not even more so in the current debate of traditional architecture. The essential error of all of these fallacies is that they make those under their thrall take for granted the fallacy’s most essential qualities. Critics and architects have been so caught up in the frenzy of of whatever trend is popular at the time that they do not notice the weakness and oversimplification of its argument. 

Romantic (Poetic) – In regarding architecture as symbolic the romantic fallacy takes a detail from an era and spins it into a complete vision of that era. This is accomplished through the essentially literary association of significant experiences which can be different for every viewer in every age, rather than the necessarily direct and sensuous experience which Scott claims architecture requires.
Romantic (Naturalism and the Picturesque) – Here, as in the poetic fallacy, architecture is increasingly judged on moral grounds. The degree to which architecture conforms to the literary ideal of nature demonstrates its sanctity and thereby its worth to the romantic. However, nature is not an absence of rule. Architecture without rules is nothing more than “slovenly art.” As such, the result of following Nature is simply to justify the artist’s caprice.
Mechanical – Following the growing trend of specialization demanded of the arts in order for their successful subservience to the new god of Science, the most beautiful architecture is seen as that in which the structure is the best and in which it is most truthfully displayed. Once again the facts contradict the assertion. Neither Doric or Gothic architecture—the architecture praised by this fallacy’s advocates—use “good construction truthfully expressed,” but rather construction that is based in an aesthetic demand.
Ethical – Once the romantic interest in what architecture indirectly signified was established, it was a natural progression to seek for a moral reference in architecture. Architecture which was insincere “signified” a corrupt era or regime and was inimical to the morals of its viewer. To say this is, however, to confuse a moral failure with an aesthetic judgment. An artist’s moral rectitude does not dictate the aesthetic value of the product of his skill.
Biological – With the advent of the theory of evolution came the corollary dominance of the desire not to appreciate, but to explain. Thus, the focus of a biological criticism is no longer on the worthy events or terms of a historical sequence, but on the uniformity and gradual progression of the sequence itself. This places all parts of the sequence on an equal footing, the best with the worst, the mediocre with the excellent. More importantly, it focuses, with an intellectual interest, attention on the insignificant moments since these serve to complete the sequence. When a given moment in the sequence refuses to fit it is ignored or skirted over because it fails to illustrate the idea of artistic development within the more important concept of the sequence itself.
Academic Tradition - Simply put, this is the idea that the imposition of rule and order, specifically the five canonical orders, is accompanied by a stultification of the discipline. But this is not the case in any worthy building until the Romantic movement. “Architecture requires a principle of permanence.” It requires, like all art, a cannon against which it can judge itself. The rules and orders of ancient Rome served to ground art in truth, through the example of the past. In the Renaissance the rules of Vitruvius are “quoted illustrated, venerated, praised” and entirely disregarded.
Empathy (Scott’s Fallacy) – Through the transcription of architecture into terms of ourselves we are able to identify ourselves with its apparent state. What this means, however, is that in the projection of human functions on the outside world the viewer is simply imbuing the object with qualities which he, the subject, desires it to have. Once again, there is an attempt to alter reality to fit the requirements of our caprice.

Additional Fallacies that may be added to the the list:
The Zeitgeist

Tuesday, January 19, 2010

"Jesus Bible Code"?

I want a "Jesus" gun too! 

"Then spake Jesus again unto them, saying, I am the light of the world: he that followeth me shall not walk in darkness, but shall have the light of life..."
"O Lord, bless this thy ACOG, that with it thou mayst blow thine enemies to tiny bits, in thy mercy." And the Lord did grin. And the people did feast upon the lambs and sloths, and carp and anchovies, and orangutans and breakfast cereals, and fruit-bats and large chu...

Saturday, January 9, 2010