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    T T T D T: Alexande

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    Gil Edgar

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    © All Rights Reserved
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    T T T D T: Alexande

    Uploaded by

    Gil Edgar
    12 views1 page

    Original Title

    28

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    T T T D T: Alexande

    Uploaded by

    Gil Edgar

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    © All Rights Reserved
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    of 1

    Alexander Calder, and Lger himself was seen as "pointing the way" for an

    architecture of full rather than emply rhetoric


    For Giecion this was clearly a shift from the machine Zeitgeist that had
    Inspired Space, Timeand Architecture, written in 1938-39. In an extended
    discussion of the League of Nations competition in that book he had
    commended Le Cor busier's entry specifically for ItS programmatic
    accommodation and absence of monumental rhetoric. In his aructe In the Zucker
    book-which began with the motto, "Emotional training is necessary today. For
    whom? First of all for those who govern and administer the people" he stated
    of Le Corbuser's building, "the whole development of modern architecture
    towards a new monumentality would have been advanced for decades if the
    officials could have understood its quality." Giedion's reversal seems to have
    been In large part occasioned by the new impact of Frank Lloyd Wright. In an
    article on Wright's J ohnson Wax building entitled "The Dangers and Advantages
    of Luxury" published at the end of 1939 in the joumal Focus. he celebrated ItS
    overscaled columns and powerful central work hall, acknowledging that a
    modern administration building could "for once be based entirely on poetry"
    The monumentality debate reached a point of Intensity In an Issue of the
    London joumal Architectural Review published In September 1948 with invited
    contributions from Gregor Paulsson, Henry-Russell Hitchcock, William Holford,
    Walter Gropius, Lcio Costa, Alfred Roth, and Giedion, and a late contribution
    107 9 from LeWIS Mumford in April 1949. It would surface again at ClAM's eighth
    13536 congress in Hoddesdon, England, In 1951, on the core of the city. But here, at a
    125-28 moment when social realism was at ItS height In Eastern Europe, the theme was
    exorcised In the West-at least for the moment. In summing up the congress's
    conclusions, Giedion stated, "There IS no excuse for the erection of a
    monumental bUilding mass," shifting the responsibility for producing symbolic
    forms to "creative painters and sculptors."
    Yet the Impulse behind the new monumentality was not to disappear It
    would be transformed, mutatis mutandis, in the coming decades In the
    47-54,270-72 rnythopoetrc structures of LoUIS Kahn and the new capitols built In India and
    308-13 Brazil, reemerging In the 1960s and 1970s In the rnstoncrsm of the Italian
    392-98, 446-49 Tendenza and the grandiloquent facades of oostrnoderrusm Meanwhile. In
    120-24,184 88 Eastern Europe the theme would have a mirror Image In the continuing struggle
    between social realism and functionalism.
    The verse from the French song with which the "Nine Points" opens is
    meant to convey the preciousness of great monuments of ciVIC architecture:
    "What would you give. my beauty, to see your husband again? I will give
    Versailles, Paris and Saint Denis, the towers of Notre Dame, and the steeple of
    my native countryside. ." A partial summary of the literature on monumentality
    may be found in Christiane C and George R Collins, "Monumentality A Critical
    Matter in Modern Architecture," Harvard Archlfecture Review4 (1984)
    First published In S Giedion. Archnektur und Gerneinschat (Hamburg Rowohlt,
    1956),pp. 40-42. English edition: Architecture. You and Me (Cembrioe. Mass'
    Harvard University Press, 1958),pp. 48-52. Copyright 1958by the President
    and Fellows of Harvard College.
    28

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