Architecture and Modernity : A Critique

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210 96 211 Office for Metropolitan Architecture, project for a Sea Terminal in Zeebrugge, site plan with inserted Tower of Babel. The project has the look of an oversized space helmet from an old-fashioned science fiction comic. In this figure—a cross between a sphere and a cone, according to Koolhaas—all the parts of the program are incorporated on the basis of a horizontal stratification with a vertical segmentation superimposed (figure 97). The lower levels are entirely reserved for vehicles: two floors for loading and unloading, another for pedestrian access with two floors of parking in an ascending spiral above it (figure 98). These end up in a floor with facilities for truck drivers. Then comes an open mezzanine level that is two stories high with a public hall that can be reached directly from the access floor by escalator (figure 99). On all sides, one has a view of the sea and the bustle of the docks (figure 100). Above this high-ceilinged hall with its central void is a floor with the facilities that forms the transition to the upper half situated under the glass dome. The segmentation in this upper half has a vertical logic—the space is divided into a trapezium-shaped office building, a hotel that is arranged in a semicircle against the outside wall of the helmet, and exhibition and promotion areas that occupy the intermediate areas. These areas in particular, with their play of sloping levels, voids, and peepholes, offer spectacular views both within the building and outside. The casino and the conference rooms required in the program are situated under the gigantic dome while the office building has a swimming pool on the roof (figure 101). These areas are laid out under the dome in such a way
Office for Metropolitan Architecture, project for a Sea Terminal in Zeebrugge, plans. 97-1 97-2 97-3 97-4 97-5 97-6 97-7 97-8 97-9 4 Architecture as Critique of Modernity
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MIT Press | Cambridge, Massachusett
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© 1999 Massachusetts Institute of
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viii Acknowledgments 2 Introduction
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Beauty today can have no other meas
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Introduction This book grew out of
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4 3, “Reflections in a Mirror,”
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6 modern architecture and its disco
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Man must constantly destroy himself
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10 modernity is thus a condition th
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12 view places great emphasis on th
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14 the same time, that threatens to
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16 Truth here is not a state of aff
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18 1 modern, mobile, and unstable s
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20 2 Ludwig Mies van der Rohe, proj
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Place and the organic relationship
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fissure that is typical of modernit
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opposed to every rational ordering
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Pont Transbordeur (1905) and harbor
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served as a guideline for future de
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organized around a sequence of some
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functionality, industry, experiment
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Picasso, L’Arlésienne, 1911-1912
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technologies on the one hand with a
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Giedion’s arguments in Space, Tim
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First issue of Das Neue Frankfurt,
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the stage coach to the railways, fr
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joy a minimum of modern comforts (f
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19 20 Aerial photograph of the Sied
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On the level of the morphology of t
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inaugurate the new era by developin
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houses no longer built face to face
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that the architecture of all the ro
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Westhausen, pedestrian path giving
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The result is a Siedlung in which a
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Theo van Doesburg, Space-Time Const
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Frankfurt were factors that could n
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“A homogeneous metropolitan publi
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The modern was present already, he
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well form an obstacle in the way of
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Josef Hoffmann, Palais Stoclet, Bru
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where it is built. Architects who t
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40 Adolf Loos, Moller House, Vienna
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Adolf Loos, Moller House, axonometr
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ing room is dominated by the dining
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Adolf Loos, Moller House, stairs fr
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exterior is distinguished by the ex
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49 Adolf Loos, house on the Michael
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of the mezzanine the interior fills
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interiors that are decorated by pro
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ecause it is an authentic expressio
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The hallmark of modernity is the de
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Paul Klee, Angelus Novus, 1920. (Th
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tential for reversal (Umschlag), as
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56 57 Passage des Panoramas, Paris,
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ety. This assessment of modern arch
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opposition between allegory and sym
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The primal form of all dwelling is
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had animated genuine humanism. A ne
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the term with flexibility and adapt
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Architecture, Modernity, and Dwelli
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Leipzig. The regime there was initi
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architecture, with all its flamboya
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It goes without saying that communi
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Modernism as a Breaking Point withi
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anything in functionalism that migh
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these views were formulated more pr
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the process of social modernization
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chaos. Tafuri argues, however, that
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Furthermore, as Tafuri points out,
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Paul Citroën, Metropolis, 1923. (R
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with the process of rationalization
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to a “school of resistance.” Un
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Nonetheless, says Dal Co, modern ar
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plays a kind of materialism based o
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never ends definitively. 191 And ye
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ing educational institutions and th
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International situationism was the
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of individuals. The term suggests t
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urbanism. This causes a subversion
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played an important part. The Provo
Page 171 and 172: Culture has always been created in
Page 173 and 174: During the first years of New Babyl
Page 175 and 176: Constant, New Babylon, interior vie
Page 177 and 178: Constant, New Babylon, drawing, 196
Page 179 and 180: Constant, New Babylon, labyrinth wi
Page 181 and 182: Constant, Ode à l’Odéon, 1969.
Page 183 and 184: Constant, Terrain vague, 1973. (Col
Page 185 and 186: each the pure kernel of authenticit
Page 187 and 188: the center of contemporary antinomi
Page 189 and 190: The final star in Adorno’s conste
Page 191 and 192: ment, to escape the identifying, to
Page 193 and 194: and emancipation risk becoming illu
Page 195 and 196: time as the Dialectic of Enlightenm
Page 197 and 198: diating between rationality and mim
Page 199 and 200: thoroughly negative one, showing as
Page 201 and 202: ut for this gesture. In his analyse
Page 203 and 204: that determine their condition. In
Page 205 and 206: For Heidegger the Greek temple is a
Page 207 and 208: explore the theme of mimesis in any
Page 209 and 210: fectly. The dream of a perfect auto
Page 211 and 212: the design process at which an arch
Page 213 and 214: Daniel Libeskind, extension of the
Page 215 and 216: Daniel Libeskind, extension of the
Page 217 and 218: an endless list of names, dates of
Page 219 and 220: in history, a hole that swallows up
Page 221: A Tower of Babel To stay viable aft
Page 225 and 226: Office for Metropolitan Architectur
Page 227 and 228: unique landmark with an unmistakabl
Page 229 and 230: moment of “authenticity” that w
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Page 233 and 234: A reflection on dwelling leads one
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Page 239 and 240: Architecture Facing Modernity 1 Epi
Page 241 and 242: Press, 1979). See also Georges Teys
Page 243 and 244: siveness of the residence is not ov
Page 245 and 246: tently, arrogantly and with loathin
Page 247 and 248: würdigen Unterkunft harren. Wären
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Page 251 and 252: for people. This mask takes a form
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Page 255 and 256: 74 Benjamin, Gesammelte Schriften,
Page 257 and 258: 107 See Benjamin, Berliner Kindheit
Page 259 and 260: möglich Positives: dass die Trümm
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Page 263 and 264: 19 Ibid.: “Nous avons inventé l
Page 265 and 266: 50 Ibid., p. 163; German text: “W
Page 267 and 268: 79 This point of view is related to
Page 269 and 270: 115 Bernhard Schneider, “Daniel L
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B Bahr, Hermann, 72-73, 74, 76, 141
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K Kabbala, 95, 176 Kabouters, 157 K
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T Tafuri, Manfredo, 5, 53, 69, 117,
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