Architectural Representation and Spectacle

8/13/2019 Architectural Representation and Spectacle

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David Haber

TUM

Final paper

22 July 2013

Architectural representation and Spectacle

INTRODUCTION

Mechanical reproduction of art changes the reaction of the masses toward art. The reactionary

attitude toward a Picasso painting changes into the progressive reaction toward a Chaplin

movie. The progressive reaction is characterized by the direct, intimate fusion of visual and

emotional enjoyment with the orientation of the expert. Such fusion is of great social

significance. The greater the decrease in the social significance of an art form, the sharper the

distinction between criticism and enjoyment by the public.1

Many of the predictions that Walter Benjamin DID in he!s essay The work of art

in its age of mechanical reproduction have proven to be true, not only in the

realm of photography and film. The adaptability of the different form of arts

resulted in a revolution not only in the creation of art, but also in its perception.

Architecture is not the exception.

The image has imposed itself as the most powerful mean of communication,

and in the last 100 years it has been pushed even more by marketing. Today,

the speed of production of images that are able survive in a constantly changing

and demanding terrain has marked - and harmed- the production of

architecture.


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For Benjamin architecture has always represented the prototype of a work of

art the reception of which is consummated by a collectivity in a state of

distraction 2. This has changed already, and this happened because of the

need of architecture to adapt itself in order to survive. This turned out harmful,

because in its intention to survive, the parameters which rule architectural

design changed, from some kind of independent or autonomous discipline -until

some degree- to adopt the means of communicational tools, thus misleading

the general perception of architecture, which after some decades in turned out

to result in architectures materialization of the Spectacle.

Architecture has always been linked to certain authorities, which allows some

kind of independence and at the same time, provides the design principles

which will guide the production: The same way that religion and new

technologies set the ground for Gothic architecture to emerge, Socialism first,

and free market later, provided the Modern Movement the canvas to build its

authority. Today, the authorities that back up architecture are mainly two (with

some important exceptions of course); real estate and marketing.

Most of the production of buildings today can be linked to one of these

categories. The real estate industry and financial speculation demand the

construction of a given amount of buildings; in simple words, architecture relies

on its capacity to generate value. The limitations that this implies, can be seen

in the result of housing production; what once could have been the agenda of a

government or institution (such as the post war housing projects) today


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represent nothing more than the possible assets for a given construction

company. Of course the limitations that this set for architectural design are

enormous, opposite to the great possibilities that marketing architecture

provides. Particularly in the sphere of representation.

Surprise, admiration or suspense; this and many others might be effects with

some kind of value for the image industry. The speed with which this emotions

take on the spectator have to coincide with the life expectancy of this images,

this means they have to be automatic.

Just as the cover of a product in the supermarket; if it!s not attractive enough, its

useless for marketing, or at least it will make harder to sell it. Architectural

design has become in the same way a tool for this mean; this has many

implications, which are not all bad. Many of the most significant works of

architecture of the last years have been done in this context, they provide the

most accessible scenario where costs is not the most important element, but at

the same way establish their conditions; it has to sell. The requirements are

Image and Spectacle.

The consequences of working on this rules are various, but the distance

between the spectator/user and the work of architecture its proportional to the

construction of a canonical image; when architecture magazines provided with

spectacular images of a given building eliminate the possibility for the user to

identify in a personal way with the work, in other words, it eliminates its Aura.


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We can see certain tendencies in the architecture of the last years that can be

related to this phenomenon, for example, the cult for the personality of the

architect, in other word, the Starchitects.

The film responds to the shriveling of the aura with an artificial build-up of the personality

outside the studio.

The cult of the movie star, fostered by the money of the film industry, not the unique aura of the

person but the spell of personality, the phony spell of a commodity.

3

The same happens when architecture becomes part of the Spectacle. If an

image of architecture its repeated everywhere, if this image is provided with a

non of this world feeling, a spotlight is created which has to be filled: the

architectural genius.

Through the introduction of architecture in the realm of images and not in the

physical world, the need for the author, the legitimation of authorship becomes

inevitable. Architecture its not signed mostly - but the images are.

This means that architecture becomes an object with a direct line between the

author and the result, which we all know it!s a debatable idea.

The identification with an architects work even though any building has been

visited is a common thing today; but something that is not always considered is

that this connection established between the work of architecture and the


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spectator is not made by the architecture, or even the author, but by a third

mediator which if not anonymous, easily forgotten; the publisher . This third

mediator has an immense power on the perception of architecture, and

therefore in the production and more importantly, in the learning of architecture.

If an individual shows a particular interest in architecture, the point to start it will

be with the publications, and not with architecture itself; even though

architecture is consummated by a collectivity in a state of distraction, when it

comes to a particular interest such as architectural students, immediately the

state of distraction is broken and ironically the interest aims to a non-physical

related world -which is where architecture takes place- and resides in the ever

changing world of images and representation, which I think, and ill try to prove,

its deceptive.

The role that institutions and authorities take part in this process is crucial; by

supporting an architecture based on its capacity to surprise, they compromise

not only the dynamics of the discipline but the production itself.


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MEXICO:A CASE STUDY IN ARCHITECTURAL INSTITUTIONS AND

REPRESENTATION

I

Mexico is a country characterized by its centralization. Mexico city is probably

the most obvious example; according to the UN 4 about 113 423 millions

habitants lived in the whole territory, but Mexico City gathered 20 446 millions.

This results also in the economical and cultural centralization; even though

other cities in Mexico are presenting a growth on its roll in the architectural

scenario, Mexico City still presents the most important scenario for culture.

Architecture also plays a big role in Mexicos economy, around the 7.2 of the

GDP 5 comes from the construction industry; of course this represents an

important sector in the job market, and therefore in the educational system; this

means, architecture is significantly important not only because its economical

factor but because its place itself in culture and politics.

Surprisingly, the architectural forums are not proportional to this, even though

there are many institutions that have an important roll in architecture such as

independent galleries, universities and government institutions.

For analysis matters it can be stated due to its range, that there are 2 dominant

institutions regarding architectural representations: The Architects Association


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(Colegio de arquitectos de la ciudad de Mxico Sociedad de arquitectos

mexicanos, CAM SAM) and Arquine which it declares itself the most diverse

communication media between professionals, students and curious of

architectural culture and practice in Latin America.6

For its roll well consider the Architects Association as the official institution,

because of its popularity well consider Arquine the most influential.

II The Architects Association and the Mexican Biennale of Architecture

Its official character can be perceived by many means, for example, the price

for the architects job is set by the Association, it also takes a leading roll when it

comes to political matters, such as the declaration made at the beginning of

2013 when the government of the City decided to grant a project to the Swiss

Firm Herzog & The Meuron for the reconstruction of certain parts of the city; the

Association declared itself against it in representation of the Mexican architects.

Even though very important, this task can!t compare with the importance with

the organization of the Mexican Biennale of Architecture. Every 2 years,

architects from all around the country present their works hoping it will be

recognized by the biggest authority; usually the best offices in Mexico show on

their publications their achievements, being the Mexican Biennale the most

respected of the national awards.


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The Biennale provides also for students, professionals and curious a sample of

what is being done in Mexico in terms of architecture, and of course, it is

expected to be the bestof what has been produced, it sets the bar.

The realm of the image has introduced itself as well in the official authorities.

What could be expected is that an official institution such as this, stays outside

the limits that mass media place with its spectacle need. Apparently this is

hardly the case.

2 examples might be illustrative to show this. It is important to note that what is

being evaluated here is the roll of the Architects Association and the Biennale,

and not the quality of the architecture of the following cases. They are both

definitely great examples of architectural practice and by no means I intend to

diminish its qualities. What is being discussed its not the quality, but to make an

analysis on why this works got the attention even though they presented serious

problems.

The first example is the Faculty of Veterinary and Zoological Medicineby

the office Isaac Broid Arquitecturaawarded with the gold medal in the 2008

Architecture Biennale

For practical matters, we wont talk about the generalities of the Project which I

repeat, I don!t intend to judge; but we might speak about the power of the

image, which in my opinion is the result of orange block situated in cantilever in

the top floor.


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This projects present conceptual elements, which might be very interesting as

well the use of materials and the position on the site, but as a cherry on the top

of the pie, the image of the spectacularelement of the top clouds the rest.

The reasons for the decision of this structural audacity are uncertain, but the

implications are not: budget problems and structural risk. The volume is closed

to the context, even though the view might be better from the top, it is

impossible to see the exterior, this means that this strong, powerful element is

meant to be seen from the outside.

The most characteristic element of this project it has been done for the sake of

the image.

The Biennale in 2008 decided to grant this project the gold medal, the general

opinion was favorable and the pictures were taken. Publications where printed

with a beautiful shot of the orange cantilever, the editor: Arquine.


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After this was done, reality stroked and due to structural risks, the element had

to be supported with 2 columns.

As far as I know the building is well appreciated by its users and is considered

an important landmark in the area. Actually some people might even not notice

the added columns. But for the architecture spectator that visits a building with

some expectations, disappointment is automatic.

Most of the libraries at the universities have a copy of the publication of this

project, and students trying to enlarge their vision on architecture today might

find a deceptive image of a beautiful building which doesnt exists.


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different elements to consider.

What makes this case interesting is that the problems that the walls presented

got a lot of attention, mainly because of the internal politics of the public

education system.

The director of the school, an architect himself, ordered the demolition of the

wall due to structural risks. The discussion got to the media, and a big debate

took place in the Internet, newspapers and

publications.

The author claims that they were informed of

the risks, and they were working with

engineers to solve them, apparently the risks

weren!t threating the safety of the building in

the near future.

After all, the auditorium of the School for Visual Arts in Oaxaca became an

instrument for political discourse, either supporters or opponents, used the

influence of the cover image for their own agenda.


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With 2 recent cases, where structural problems were found in the awarded

buildings, the question has to be asked: what are the parameters that are

considered to judge architecture?

One thing is for sure until now: image beats structure and construction.

III Arquine

6 months ago, Mexico City!s recent elected Mayor appointed the new secretary

of urban development and housing. Many architects, city planners and urban

planners were quite skeptical about it; the new secretary had a professional

background on real state development, and they argued that this could present

some conflict of interests.

Last year, the curator of the Mexican pavilion at the 2012 Venice Biennale open

the exhibition showing the work of 13 offices, mainly public interventions such

as cultural buildings, museums and parks.

Similarly to the case of the already mentioned, the director of the National

Commission for Arts and Culture did the appointment for the curator. The

elected architect was the editor of the most important written publication in


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Mexico, Arquine. The question made for the first case applies also for the

second one: what about the conflicts of interests?

A private institution has the liberty to act the way it wants, because of this it is

not in my interest to point out the flaws that I see in this important mentioned

publication, but when its power range overlaps with the public realm it becomes

relevant.

For Mexico it was an important year at the Biennale; in a bilateral agreement

the S.t Lorenz Church was established as the permanent pavilion for at least

the following 9 years. The format of the exposition was quite disappointing.

Even though the works on the

inside of the church were still being

done at the moment, the installation

was done in the atrium of the

church.

A temporary structure covered with

color panels protecting the screens,

which each one of them was

showing the works being exposed.

The architecture was none, the

panels, a poor attempt to make the

installation interesting. The fact


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that the works were being showed only through video enhances the character of

the buildings in a particular way: spectacular.

The pavilion was a reproduction of the previous publications done by Arquine;

same architects, almost same format. No surprise there wasn!t any favorable or

important reaction. Comparing it to other works, such as the one made by

Urban Think Tank, it appears that the theme of the Biennale, Common

Ground, went by complete unnoticed.

It looked like an excuse to reproduce again what had been reproduced already

in the publications, no criteria in the project selection or in the ways of

representation, just an automatic, almost immediate exposition through videos,

images and some text.


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What is important here it is the overlapping of different spheres with a lot of

influence in the realm of architectural representations. Magazines such as

Arquine are everywhere, and they are important and have a crucial roll in

architecture; the problem it!s the limited counterbalance. Public institutions

should be there to promote the work in a different scale; the individuals against

the spectacle and the stars.

Public and private institutions -which apparently are almost the same- are

mixed, and the popularity of one of them is blocking the influence of the second

one. Alternative means are needed in order to break with the continuous

reproduction of images that cloud the spectator!s reception of architecture;

closeness, scale and experience have to regain their roll in the sphere of

architecture representation in order to see its influence in the built world.

IV Alternative means

The spectacle which inverts the real is in fact produced. Lived reality is materially invaded by

the contemplation of the spectacle while simultaneously absorbing the spectacular order, giving

it positive cohesiveness. Objective reality is present on both sides. Every notion fixed this way

has no other basis than its passage into the opposite: reality rises up within the spectacle, and

the spectacle is real. This reciprocal alienation is the essence and the support of the existing

society. 7

Going back to Walter Benjamins essay, we can make a close up to the way

architecture might act in societies perception, that is, as cultural legacy. There


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are 2 ways that buildings might be appropriated by the spectator; use and

perception. The former can be related to the touch, the latter to the sight.

Tactile appropriation is accomplished not so much by attention as by habit,

considering the definition of habit as a settled or regular tendency or practice,

especially one that is hard to give up8, we can note that the basic condition to

appropriate a building by use demands a broader factor of time. Immediacy of

images are an obstacle for the appropriation of a building; this is a common

problem in architectural representations, the limitations on time tie their means

to only the appropriation through sight, which result in incidental fashionand the

acquisition of canonical value, very useful elements for architecture to become

spectacular and fulfill the task of some kind of marketing.

In relation to Benjamins description, we have Debords statement regarding

sight and touch:

The spectacle, as a tendency to make one see the world by means of various specialized

mediations (it can no longer be grasped directly), naturally finds vision to be the privileged

human sense which the sense of touch was for other epochs; the most abstract, the most

mystifiable sense corresponds to the generalized abstraction of present-day society.9

Just as the most basics forms of art where related to the spiritual world, even

though they had their role in the physical world, the same happens with

Architecture. The temple could be understood as the closest you could get in

earth to heavens.


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The poetical dimension of the canonical image fulfills the void of a superior

world, and today this world is perceived only through sight, the admiration of a

parallel life which is impossible to grasp. The fascination that this generates in

the spectator provides the comfort of a better world, the same way that the

temple did not so long ago.

The continuous exposition of spectacular images in architecture, have a great

influence on the following production of it. Many publications, that usually play

the role of authority in architecture, enhance this attitude, which set the ground

for misconceptions of the real values of architecture, and therefore the

spectaclebecomes real. Here rely the dangers and responsibilities of an image-

based representation of architecture.

Important questions follow this statements; Architecture is manifold, until which

extent architecture might be represented? What specifically is being

represented?

We might start by acknowledging the unexploited characteristics of architecture.

Bachelard makes a thought provoking distinction between formal imagination and material

imagination. In he!s view, images arising from matter project deeper and more profound

experiences, recollections, associations, and emotions than images evoked by form. The eye

assigns them (forms) names, but only the hand truly knows them. Bachelard claims. Until

recently modernity at large has been primarily concerned with form rather than the mental and


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emotional suggestions of matter. Le Corbusiers passionate definition of the specific realm of

the art of architecture, Architecture is the masterly, correct and magnificent play of masses

brought together in light, exemplifies this predominantly visual and formal orientation. We need

to remember, however, that in his own later works Le Corbusier revealed the expressive power

of matter.10

To evoke the material imagination can be a daunting task, but as well provides

with a much bigger catalog for reproduction. The richness of this approach in

comparison relies on the fact that it includes all the advantages of the image

presentation, but counterbalances its authority through bringing to the surface

other important elements that constitute architecture. Touch, smell and sound

might come up, bringing the representation down to earth and making it,

through imagination, possible to grasp.

As romantic as this might sound, it is in our reach to overcome the images and

authority that architectural representation has set until now.

As previously mention, architectural representation takes a very important place

in the first years of learning architecture. The means which a student has are so

limited that representation becomes the link between itself and what might be

considered architecture. This need of representation should be limited.

Ephemeral architecture and Derive can work as tools for everyone, but

specifically students, to understand the elements that enrich architecture, to be


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able to appreciate the spatial qualities and not the collective imaginary of what

is right or good.

To relate this possibilities to our case study, Mexico City, well consider the case

of the Ecos Pavilion, a yearly competition organized by the National

Autonomous University of Mexico, which consists on the architectural

installation in the backyard of the museum designed by Mathias Goeritz, Luis

Barragans partner in many important works and the initiator of Emotional

Architecture.

Two are the most successful projects in this young initiative; the first one is

Frida Escobedo!sintervention, and the second one is MMX Studio.

In the first case, the exhibition consisted on the arrangement of concrete blocks,

changing completely the atmosphere of the backyard.

The logic in its construction, the use

of materials and the sight

exemplifies very good the way she

works. Similar elements can be

found in other works of her, such as

the gallery La Tallera.


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MMX intervention consists in a very

singular approach to the site; the

backyard is completely changed

without actually any kind of

construction.

The tension of ropes and chains, the

logic in its construction and the use

of materials and shadow provide a

very peculiar situation, which is hard

to explain in formal terms.

It is also important to note that this intervention is worthy visiting it for a long

periods; the factor of time it!s implied in the design. The conception of the

installation comes from the urge to resist a single, spectacular image.

This modest intervention presents not only a great platform for young architects

to present their investigations, but a forum for architecture events, where

discussion and exhibitions are being held. Also considering the importance of

the building it makes it one of the best point for someone to start approaching

architectural thinking.


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Even with its scale, the intimidating feeling of the photoshoped image in the

cover of a magazine seems irrelevant next to the complexities of these simple,

daunting and complex installations.


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References

1. Scannell, Paddy (2003) "Benjamin Contextualized: On 'The Work of Art in the Age ofMechanical Reproduction'" Canonic Texts, Polity Press, Cambridge. Chapter XII

2. Ibidem, chapter XV3. Ibidem, chapter X4. "Population seven billion: UN sets out challenges". BBC. 2011-10-26. Retrieved 2011-

10-27.

5. "Economa. Construccin." INEGI, Economa. Construccin. N.p., n.d. Web.6. www.arquine.com7. Debord (1977) [1967] The Society of the Spectacle, translation by Fredy Perlman and

Jon Supak (Black & Red, 1970; rev. ed. 1977). Online at Library.nothingness.org,

Chapter 1 Separation perfected

8. Scannell, Paddy (2003) "Benjamin Contextualized: On 'The Work of Art in the Age ofMechanical Reproduction'" Canonic Texts, Polity Press, Cambridge. Chapter XV

9. Debord (1977) [1967] The Society of the Spectacle, translation by Fredy Perlman andJon Supak (Black & Red, 1970; rev. ed. 1977). Online at Library.nothingness.org,

Chapter 1 Separation perfected

10.Pallasmaa, Juhani. Matter, Hapticity and Time, material imagination and the voice ofmatter. Madrid; El Croquis, 2011.

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