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Lecture 06.1: Power & Making Environments- National ...€¦ · 2015-10-06 · Lecture 06.1: Power...
Transcript of Lecture 06.1: Power & Making Environments- National ...€¦ · 2015-10-06 · Lecture 06.1: Power...
Architecture 3711:Environmental Design & the Sociocultural Context
Lecture 06.1: Power & Making Environments- National Identity & Classicism
Announcements:
1. Portfolio due this
Thursday
2. Project check-In on
Thursday
3. Interim project reviews in
class next week Rapson
Hall Balconies & Links
All projects to be posted
before class.
Tuesday:North balconies, upstairs and downstairs links
Thursday:S & West balconies and upstairs link)
Culture &
Design as A
Constructing a Thatched Roof in Shirakagawa Japan (photo by JWR, 210)
Architecture 3711:Environmental Design & the Sociocultural Context
Lecture 06.1: Power & Making Environments- National Identity & Classicism
I. Introduction
II. Two Approaches To
National Identity Using
Classicism
III. Environments &
Communication• Why is it important that
environments
communicate?
• How do environments
communicate?
IV. Film: Triumph of The
Will- Leni Riefenstahl
V. Exercise & Discussion
How Power is Conveyed
Culture &
Design as A
Constructing a Thatched Roof in Shirakagawa Japan (photo by JWR, 210)
Architecture 3711:Environmental Design & the Sociocultural Context
Power Environments-Albert Speer & Adolph Hitler
f Culture & Design as A
Cultural Process
3. Exercise: The Childhood
Dwelling
4. Lecture: The Role of
Environment
in Constructing Identity
5. Western Culture in the
World
Context & an Example of
Adaptation to the
Environment (if time)
As I once stated in 1936, my buildings were not solely intended to express the essence of the National-Socialist movement. They were an integral part of that very movement………Albert Speer
(1978, in Krier, 1985: 213-214)
Architecture 3711:Environmental Design & the Sociocultural Context
Power Environments-National Identity- Two Approaches
f Culture & Design as A
Approach #`1
Housing the Head of State
The New Chancellory,
Berlin- Albert Speer
1938-39
What do you notice? to the
Environment (if time)
Power Environments-National Identity- Two Approaches
f Culture & Design as A
Adaptation to the
Environment (if time)
- Space expressing power
- Social hierarchy in built form
Power Environments-National Identity- Two Approaches
f Culture & Design as A
Adaptation to the
Environment (if time)
Power Environments-National Identity- Two Approaches- New Chancellery
f Culture & Design as A
Adaptation to the
Environment (if time)
How do you feel?
Power Environments-National Identity- Two Approaches- New Chancellery
f Culture & Design as A
Adaptation to the
Environment (if time)
Attitude toward visitor /citizen ?
Marble Gallery Hall of Light
Power Environments-National Identity- Two Approaches- New Chancellery
f Culture & Design as A
Adaptation to the
Environment (if time)
Attitude toward visitor /citizen ?
Power Environments-National Identity- New Chancellery: Hitler’s Study
f Culture & Design as A
Adaptation to the
Environment (if time)
http://deutschlandostmark.blogspot.com/2013/05/troost-and-speer-hitlers-architects
Power Environments-National Identity- New Chancellery: Hitler’s Study
f Culture & Design as A
Adaptation to the
Environment (if time)
Power Environments-National Identity-White House vs New Chancellery
What do you read in these environments about
the relation of the head of state to the people?
White House, Benjamin Latrobe versus New Chancellery, Albert Speer
1807, Washington, DC 1938-39, Berlin
Power Environments-National Identity-White House vs New Chancellery
f Culture & Design as A
Adaptation to the
Environment (if time)
What do you read in these environments about
the relation of the head of state to the people?
Comparative Plan Analysis
Power Environments-National Identity-White House vs New Chancellery
f Culture & Design as A
Adaptation to the
Environment (if time)
Comparative Plan Analysis
Entry
Leader’s
Office
Entry
Leader
’s
Office
Power Environments-National Identity-White House vs New Chancellery
f Culture & Design as A
Adaptation to the
Environment (if time)
Comparative Plan Analysis:
Distance to leader’s office (est)
Entry
Leader’s
Office
Entry
Leader
’s
Office
1440’ 250’’
Power Environments-National Identity-White House vs New Chancellery
f Culture & Design as A
Adaptation to the
Environment (if time)
What
What do you read in these environments about
the relation of the head of state to the people?
White House- First Floor New Chancellery- First Floor
Overall Depth = 8 Overall Depth = 13
# Spaces =21 # Spaces =110
Mean Depth = 6.2 Mean Depth = 6.58
Office Depth= 7 (near mean) Office Depth= 13 (maximum depth)
Oval Office
Hitler’s StudyComparative Syntax Analysis
Power Environments-White House vs New Chancellery- Exterior Image
f Culture & Design as A
Adaptation to the
Environment (if time)
White House New Chancellery
What do you see as similar and different?
Power Environments-White House vs New Chancellery- Leader’s Office
f Culture & Design as A
Adaptation to the
Environment (if time)
White House- Oval office New Chancellery- Hitler’s Office
816 ft2 x 18.5 ft 3600 ft2 x 30 ft(?)
What are the differences here?
Background to the film : Triumph of the Will?
Berlin-
Speer’s great axis
(project only initiated)Almost 3 miles long
Champs Elysees= 1.2 miles
Berlin to represent
the power of the Third
Reich
Background to the film : Triumph of the Will?
Berlin-
Speer’s Great Hall or
Volkshalle (project
Berlin to represent
the power of the Third
Reich
Background to the film : Triumph of the Will?
Berlin-
Speer’s Great Hall or
Volkshalle (project)To house 180,000 people
16x the size of St Peter’s
“Hitler would talk enthusiastically
about the farmer who would travel all
the way from the provinces to Berlin,
enter the Great Hall, that gigantic area
of 220 meters high and 250 meters
diameter, and felt literally crushed by
what he saw... That is why Hitler saw
the architecture of assemblies as the
mechanism that would help establish
his domination.”
Albert Speer
Background to the film : Triumph of the Will?
Nuremburg
Zeppelinfeld
1934-37
Albert Speer
Background to the film : Triumph of the Will?
I must have had the feeling
that it was no affair of mine
when I heard the people
around me declaring an
open season on Jew,
Freemasons, Social
Democrats or Jehovah’s
Witnesses. I thought I was
not implicated if I myself
did not take part.
Albert Speer
Matuhausen
Forced
Labor
Camp
Background to the film : Triumph of the Will?
Nuremburg
Zeppelinfeld
1934-37
Albert Speer
Background to the film : Triumph of the Will?
Nuremburg
Zeppelinfeld
1934-37
with choreographed
lights & movement
Albert Speer
Film : Triumph of the Will?
Karl Arndt is right to detect Hitler’s desire for power and the submission of others in my buildings. The main character of my architecture expressed this urge. In those years, I believed in the claim to absolute domination and my architecture represented an intimidating display of power, as Georg Friedrich Koch describes in an essay. The National Socialist movement represented more to me than the mere incarnation of political power. It was the fulfillment of claim to dominance over a nation. Every person, if they wanted to survive, had to submit to it.
Albert Speer
Film : Triumph of the Will?
As you watch, please
consider:
RITUALS- What are the
feelings generated by the
activities in the film?
PLACE- What are the
elements of design that
support that feeling (ritual,
place, photography)
CONTEXT- What is the
responsibility of the designer?
Comparison
Power & Environments: Communication
f Culture & Design as A
Adaptation to the
Environment (if time)
Power & Environments: Communication- 4 Premises- [Whiteboard]
1 The designed environment
communicates ideas
2 The language of space & form is
the vehicle for such
communication
3 The designer’s role is to
form/use/modify the spatial
language
4 The designer is therefore
responsible to attend to:
The message
The language
The reception of the language
(or lack thereof) by the
ordinary person (the
public)
n to the Environment (if time)
Power & Environments: Communication- 4 Premises- [Whiteboard]
What is Language in
Environmental Design?
What is an appropriate expressio
of Power?
Who Builds?
How Does Space Become Meaningful? [Whiteboard]
?
Some problems with
meaning in
environments(modified from Bonta p 28)
Interpreter assumes
intentionality
Interpreter does not assume
intentionality
Designer intentionally
sends a message
Message correctly
understood/
Message incorrectly
understood, but designer seen
as responsible
Understood or not, message
seen as inadvertent. Designer
not understood as responsible
Designer does not
intentionally send a
message
Interpreter incorrectly
assumes designer had an idea
and is responsible but
designer does not feel
responsible
Interpretation of a message
seen correctly as inadvertent
Preparation for the Exercise:
How Does Space Become Meaningful? Sources for Communication
2.. Ordinary people’s everyday
interaction in and
understandings of places
3. The history of the place, ordinary
people’s associations with past
experiences and
political ideology
4. Designers ideas about space
How Does Space Become Meaningful? Sources for Communication
1. Ideas and intentions held by
powerful people
2.. Ordinary people’s everyday
interaction in and
understandings of places
3. The history of the place, ordinary
people’s associations with past
experiences and
political ideology
4. Designers ideas about space
How Does Space Become Meaningful? Sources for Communication
1. Ideas and intentions held by
powerful people
2.Physiological Experience
3. Ordinary people’s everyday
interaction in and
understandings of places
4. . The history of the place, ordinary
people’s associations with past
experiences and
political ideology
5. Designers ideas about space
How Does Space Become Meaningful? Sources for Communication
1. Ideas and intentions held by
powerful people
2. Physiological Experience
3. Ordinary people’s everyday
interaction in and
understandings of places
4. . The history of the place, ordinary
people’s associations with past
experiences and
political ideology
5. Designers ideas about space
How Does Space Become Meaningful? Sources for Communication
1. Ideas and intentions held by
powerful people
2. Physiological Experience
3. Ordinary people’s everyday
interaction in and
understandings of places
4. The history of the place, ordinary
people’s associations with past
experiences and
political ideology
5. Designers ideas about space
How Does Space Become Meaningful? Sources for Communication
1. Ideas and intentions held by
powerful people
2.. Physiological Experience
3. Ordinary people’s everyday
interaction in and
understandings of places
4. The history of the place, ordinary
people’s associations with past
experiences and
political ideology
5. Designers ideas about space
How Does Space Become Meaningful? Mechanisms
Lincoln Memorial & Reflecting Pool, Henry Bacon, 1922
Mechanisms
-for transmitting meaning
-for spatialization of ritual,
activities,
Scale & dimensions
Symbolism & Iconography
Historical Reference
Landscape manipulation
Materiality
Hierarchy
Location
How Does Space Become Meaningful? Mechanisms
Lincoln Memorial & Reflecting Pool, Henry Bacon, 1922
Mechanisms for transmitting
meaning
for spatialization of ritual,
activities,
Scale & dimensions
Symbolism & Iconography
Historical Reference
Landscape manipulation
Materiality
Hierarchy
Location
How Does Space Become Meaningful? Mechanisms
Lincoln Memorial & Reflecting Pool, Henry Bacon, 1922
Mechanisms for transmitting
meaning
for spatialization of ritual,
activities,
Scale & dimensions
Symbolism & Iconography
Historical Reference
Landscape manipulation
Materiality
Hierarchy
Location
How Does Space Become Meaningful? Mechanisms
Lincoln Sculpture, Daniel Chester French, 1922
Mechanisms for transmitting
meaning
for spatialization of ritual,
activities,
Scale & dimensions
Symbolism & Iconography
Historical Reference
Landscape manipulation
Materiality
Hierarchy
Location
How Space is Empowering or Disempowering?
Marin Luther King Washington March, 1963
Findley
Maintaining Hierarchy
Marginalization
Segregation
Colonialization
Globalization
Mapping Territories
Reversal
Subversion
Occupation
Transformation
Role of Economics
Role of Politics
Exercise Preparation- Comparison of the two sites
Zeppelinfeld800m x450m(2624’ x 1480’)
U of M Mall304m x 76m(1000’ x 250’)
Exercise 06.1: Power & Environment- How Power Is Conveyed (in Teams)
Consider how the meaning of Speer’s
Zeppelinfeld (in film) is conveyed in
comparison to the meaning in the
University of Minnesota mall (Coffman to
Northrup.
Use the terms below to identify the particular
design elements that convey meaning and the
mechanism that is used. If you think of a new mechanism, please add it to the list. Draw your conclusion: What
is the difference between the Conveyance of meaning in the two environments?
MECHANISM DESIGN DETAIL OR ELEMENT & MEANING
SPEER U OF M
SCALE & DIMENSION
SYMBOLISM/ ICONOGRAPHY
HISTORICAL REFERENCE
LANDSCAPE MANIPULATION
MATERIALITY
SPATIALIZATION OF RITUAL
HIERARCHY
LOCATION
CONCLUSION:
Lecture 06.1: Power & Making Environments: Take Away
Environments can communicate power
Environments can take away power
Environments can empower people
Clacissism can be used positively or negatively
Designers need to know
when & how to design for power
and empowerment
Lecture 06.1: Power & Making Environments: Sources
REFERENCES
Barthes, Roland. 1964. Elements of Semiology. New York : Hill and WangBonta, Juan P.1979. Architecture and its Interpretation. New York: Rizzoli.Lefebvre, Henri. 1995. The Production of Space, Oxford: Blackwell Publishers.De Certeau, Michel. 1984. The practice of Everyday Life, Berkeley: University of California Press.Findley, Lisa. 2005. Building Change: Architecture, Politics & Cultural Agency. London: RoutledgeHayden, Dolores. 1996. ”Urban Landscape History: The Sense of Place and the Politics of Space” in
The Power of Place: Urban Landscapes as Public History. Cambridge, MA, MIT Press, pp15-43.Krier, Leon. 1985. "An Architecture of Desire," in Albert Speer Role of classicism in communication
of Nazism in Architecture, 1932-1942. Brussels: Archives d’Architecture Moderne, 217-228.Kroll, Lucien [Trans. Peter Blundell Jones]. 1987 [1983]. An Architecture of Complexity. Cambridge,
MA:MIT Press Roger Moorehouse. 2012 “Gemania: Hitler’s Dream Capital” History Today,Volume 62 Issue 3
March 2. http:// www.historytoday.com/roger-moorhouse/germania-hitlers-dream-capital)Riefenstahl, Leni, Triumph of the Will (Triumph des Willens). 1935. 1992 Film Preserve, Ltd,.Speer, Albert. 1985. “Introduction” in Albert Speer Role of Classicism in Communication of Nazism
in Architecture, 1932-1942. Brussels: Archives d’Architecture Moderne, 213-124.Smith, David Calvert. 1990. Triumph of the Will: A Film by Leni RiefenstahlRichardson, Tex.:
Celluloid Chronicles Press. http://www.geocities.com/emruf4/triumph.htmlTzonis, Alexander, and Liane Lefaivre. 1986. Classical Architecture: The Poetics of Order.
Cambridge, MA, MIT Press.Wise, Michael Z., 1998. Capital dilemma : Germany's search for a new architecture of democracy ,
New York: Princeton Architectural Press Figure: 18Vale, Lawrence, J. 1992. Architecture, Power & National Identity: New Haven: Yale University
Press