Between Traditionalism and Modernism: Approaches to a Vernacular Architecture

Between Traditionalism and Modernism: Approaches to a Vernacular Architecture

Author(s): Dennis Alan Mann

Source: Journal of Architectural Education (1984-), Winter, 1985, Vol. 39, No. 2
(Winter, 1985), pp. 10-16

Published by: Taylor & Francis, Ltd. on behalf of the Association of Collegiate Schools of Architecture, Inc.

Stable URL: https://www.jstor.org/stable/1424962

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Between Traditionalism and Modernism

Approaches to a Vernacular Architecture

Dennis Alan Mann received his B. Arch from the University of Cincinnati and his M. Arch from the University of Pennsylvania in 1966. He has been teaching at Cincinnati since 1987. He has published The Art in a Democratic Society, well as the number of articles surrounding the ideas of popular culture and its relationship with architecture.

Little in the history of the profession of architectural education teaches us to understand architecture from the standpoint of traditional social values. The ideology of modernism, which remains the foundation for the educational philosophy most architectural schools, is too closely linked with the forces of patriarchy, idealism and rationalism to respond adequately to the traditional cultural patterns of society. Yet, it is generally that if it is closely linked with the forces of patriarchy, idealism and rationalism to respond adequately to the traditional cultural patterns of society, it is generally that if it is closely linked with the forces of patriarchy, idealism and rationalism to respond adequately to the traditional cultural patterns of society.

In a couple of years they have built a home sweet home. With a one-story kids running in the yard of Desmond and Molly Jones Lennon and McCartney

Introduction
Listening to these lyrics made me wonder what that home of the hard-working Desmond and his pretty wife Molly might be like. I imagined that it could be somewhere on the fringes of Liverpool in a semi-rural neighborhood. I even imagined that they had chosen me to be their architect. I had to keep reminding myself that this was not a house for the Kaufmanns or the Steins or for my mother or even for myself. It was a house for the Joneses. Not that they deserve anything less mind you, but wouldn't they want a home that was much like all the other homes in the area where they lived; homes that carried on the traditions and patterns of life of people themselves?

As an architect and an educator I began to ask myself about the paradigms in education that prepared a student for the task of designing the Jones' house or, for that matter, the neighborhood supermarket, the local shopping mall or the health maintenance center on the bypass. On the one hand, I knew many of the great monuments of architectural history that had studied had been built by strongly hierarchical or even slave labor societies. On the other hand, modern America is a pluralist, consumer-oriented, egalitarian society with a broad base of potential income. But contemporary architects seemed to at that time, as now, uninterested in competing with design/builders, developers, the metal-building industry and corporations, all with their own industries. It was clear that most architectural students were not prepared by the nature of their education to design, let alone understand and build when it was not either historically significant or currently fashionable.

But my own education had not been that different. As a young graduate I felt that my responsibility, my quest, was to move out among the masses to educate their tastes. What I've come to realize is that I must learn to appreciate others. John Nichols, a keen observer of the human scene, points out an alternative sensibility. In Nirvana Blues he describes Chamisaille, New Mexico, a factual townounding much like ideas.

Old style adobe, favored by Spanish-speaking valley denizens, had been solid, flat-roofed, one-story dwellings, so simple they seemed logical extensions of the earth. Unobstructive, beautiful, and architecturally similar, for centuries their unpretentious sameness had added to the valley's feeling of community. In contrast, the new houses were explosions of individual expression gone away. Every house was unique, an extension (call it a flairing) of its owner's implacable ego. The design idiosyncrasies of each dwelling slobbered all over themselves. If fabric called of adobe that mud was sculpted in Guaduese dribbles. Ramparts, scaffolds, and turrets abounded. At every turn were corbels and arches and towered infirmum. Enormous picture windows framed cinematic and panavistic views of Hija Negrita, the sacred mountain. Green-house, polished that invades. Two-and-three-story home houses shot toward the heavens like sky-scraperitos, their roofs sheathed in Mediterranean orange terra-cotta."

Nichols' perceptions of Chamisaille are not that different from what I've observed in travelling through America. There are regional differences in building which are and have been connected to their specific areas in America for generations. (Figs. 1, 2) What makes a place diverse and towered infirmum. Enormous picture windows framed cinematic and panavistic views of Hija Negrita, the sacred mountain. Green-house, polished that invades. Two-and-three-story home houses shot toward the heavens like sky-scraperitos, their roofs sheathed in Mediterranean orange terra-cotta."

But, it is possible to teach architecture students to design in a regionally sensitive environment. In this environment, there are changes, the idea of a regional architecture or a vernacular architecture of any sort runs counter to the nature of architectural or vernacular education of any kind) in America. Today practice and formal education are bound to the tenets of positivism, idealism and rationalism. These three

forces are intellectual stumbling blocks to a structured approach to the teaching and practice of an architecture based on tradition. Positivism, because it places its faith in observable fact, objectivity and, above all, the preeminence of information, distinguishes the subjective values that people bring to all their transactions with architecture. Idealism, because it espouses the artistic and philosophic vision of a higher and purer order, ignores the relative qualities of human experience, qualifies based in the here and now. Rationalism, because it promotes a design methodology founded on analyzing "information" and then synthesizing "solution" from that information, neglects to recognize that design usually happens in a non-linear, conjecture-analysis manner.

In contrast, the idea of a regional or vernacular architecture is closely tied to the ideas of tradition. Tradition implies a handling down of knowledge as passing on of doctrine. It is endorsed by sentiment, love, family and community bonds. Tradition is a powerful force not only on but below the surface of our lives. It guides our lives more than we want to believe—even those of us who live in a post-industrial society.

To complicate the argument it should be pointed out that tradition in our society is not the same as that described by Christopher Alexander in Notes on the Synthesis of Form. There, traditional design is characterized as accepted beyond question by all builders, connected to building habits dominated by myth and legend, resistant to wither change and most often user-built. More appropriate to the idea of tradition in contemporary life is John Kouwenhoven's definition of what could be termed a dynamic tradition. Kouwenhoven's vernacular arts are "objects shaped empirically by ordinary people in unself-conscious and uninhibited response to the challenges of an unprecedented cultural environment." These challenges are tied directly to the "twin forces of democracy and technology."

Architects today are not in touch with the traditions that Kouwenhoven describes. Little in the history of the profession or the contemporary philosophy of education teaches us to understand and work with either traditional values or the realities of a democratic society. From a practical standpoint this should be more than apparent. In "The Compensation Crisis"

Fig 1 House in San Antonio, Texas (photo by author)

Fig 2 House in Wrightsville, Beach, North Carolina (photo by author)

Oliver Witte reported that in 1982 the United States had about 62,000 architects while accredited schools of architecture were graduating another 4,000 students a year. And although there are no firm figures, we see capable of serving this diverse public new paradigms must be introduced and developed. "But you gotta know the territory," as one of the salesmen in The Music Man warned. Learning about the whole territory requires a better understanding of the basis upon which both the old territory and the new territory exist. In architecture that means both the idea of traditionism and the idea of modernism.

The Idea of Traditionalism
First, to be a living language, it must be the shared vision of a group of people, very specific to their culture, able to capture their hopes and dreams, containing many characteristics and special local ways of doing things.

Christopher Alexander

Imagine a family beginning to set up a household. Maybe it’s a family of squaters claim a small piece of land on the edge of São Paulo or peasants constructing mansions on the skirts of Beijing. Or maybe it’s a family like your own moving into a newly purchased house—the one that your mother and father have dreaming about. There is no mysterious process at work. A ritual of living already exists and the family arranges its spaces and locates its relationship between such a manner as to support those rituals. Family life as the basis for the stability of every human being is still the strongest institution in society with what it means in conversations, customs and underlying codes are validated by their past. We inherit them. They evolve because they are consistent with ethnicity up until the present, their structure, their fabric, exist in the past—in history. So the order of the household, the social uses of space as well as the hierarchies of spatial use, and the relationships between spaces are a function of the ritual of family life. The house is a stage upon which the family carries out its formal and informal rituals and ceremonies.

Anthropologist Robert Redfield has pointed out that all societies are governed by a moral order and a technical order. These orders are two different ways by which the activities of people are coordinated. Moral order according to Redfield refers to the organization of human sentiments into judgments as to what is right (italics are mine). In folk societies this sense of rightness is guided by religion but in advance societies or less religious ones rightness refers to a sense of social solidarity that arises out of common needs or a shared world-view. Technical order, on the other hand, is that order which results from mutual usefulness... It is bound by things and is characterized by necessity and expedition. Redfield suggests that folk societies are dominated by moral order while more advanced urbanized societies are dominated by technical order. Both orders exist to a degree in all societies.

It is the moral order which is pervasive in traditional society. Custom and prejudice shape lives and beliefs. Where strong tradition is the basis of an artful culture, not the other way around. Reason falls victim to habit. Precedent, prescription and repeated patterns determine behavior. The artistic "pattern language" is the realization that there is a fluid code which not only generates each building, each room, each door, but also admirably serves not only the other way around. Reason falls victim to habit. Precedent, prescription and repeated patterns determine behavior. The artistic "pattern language" is the realization that there is a fluid code which not only generates each building, each room, each door, but also admirably serves not only the other way around. Reason falls victim to habit. Precedent, prescription and repeated patterns determine behavior. The artistic "pattern language" is the realization that there is a fluid code which not only generates each building, each room, each door, but also admirably serves not only the other way around. Reason falls victim to habit.

The goal of culture is to make life secure and enduring for its members. This respect important functions of culture are to satisfy people’s psychological and spiritual needs to help its members through the use of ideology, ritual and ceremony to keep and transmit meanings. One way that this is accomplished is through dwelling. Christian Norberg Schultz, in Denmark Loc, established the concept of dwellings as a synonym for "existential footwork." He is most convincing when he says that: Man owes when he can orient himself within and identify himself with an environment or, in short, he experiences the environment as meaningful. Familiar shapes and traditional forms are establishing because of their associations with cultural patterns. So when your family finally inhabits that dream house it is no wonder that a strong sense of identity as a family be closely attached to the window that looks out over the garden, to the nook where the family eats and shares the day’s events or to the shared space they are already attached to the window pointed out, tradition is not as static as it made out to be. Cultures drift and evolve. While standards might originate in the past, it is the present and influencing old standards and introducing new ones. How many times you have heard people say, "they just don’t build houses like they used to?" This could be interpreted several ways. First, it could mean that construction standards are changing, that craftsmanship has deteriorated, that materials can break down and that the house itself is smaller and less ornate. But it could also mean, "wish they would build houses to build—perhaps a more deeply rooted desire to dwel in a house like that of one’s childhood memories." (Fig. 3) When compared to the household, too only superficially seen to preserve family patterns.

The relationship between the past and the present is not dead. At the same time that he defended tradition by calling it "drapery of life" Edmund Burke advocated change as the process of modifying past

injustices. And today, precedent is consistent being different by new circumstances. Again, looking to Kuwienhen, we recognize that his definition of vernacular includes the dynamics of change. He refers to the fact that much of what the rest of the world calls American civilization is "that often untidy vernacular ferment produced when the technology of manufactured power and the democratic spirit work together." Yet he is cautious to distinguish the cultivated tradition, which maintained a stubborn reliance on the past while justifying its present through the theory of taste. From the vernacular tradition, which developed more freely, but more on this idea of a dynamic tradition later.

Marshall McLuhan's "global village" and William Irwin Thompson's "meta-industrial village," both created by modern communications technology and high-speed transportation systems, are based in the traditions of the past but use the technologies of the future. Today we live in a space where narrow and high-speed transportation systems, are based in the traditions of the past but use the technologies of the future. Today we live in a space where narrow and high-speed transportation systems, are based in the traditions of the past but use the technologies of the future.

The Ideas of Modernism

While tradition defines limits and establishes a sense of fixed social rightness and order, Modernism advocates the eclipse of accepted truths and traditional values. Modernism has its roots in social, political and industrial revolutions which began in the late-eighteenth century. It is a force for a more equitarian, more politicized world. It is a force which changes the world by changing the way we look at the world. In other words it alters the base upon which our values and standards are established.

The ideology of Modernism, in challenging accepted sentiments and conventions often emphasized constativeness, it is always fresh, always challenging, often unpredictable and inconclusive. For example, Colin Rohn has pointed out that modern architecture's preoccupation with the "problem of the built solid" or the building as "insulated object" (Fig. 4) contrasts sharply with the traditional concern for the passive and transient angle and the structure of space over other things. Yet he is cautious to distinguish the cultivated tradition, which maintained a stubborn reliance on the past while justifying its present through the theory of taste. From the vernacular tradition, which developed more freely, but more on this idea of a dynamic tradition later.

Marshall McLuhan's "global village" and William Irwin Thompson's "meta-industrial village," both created by modern communications technology and high-speed transportation systems, are based in the traditions of the past but use the technologies of the future. Today we live in a space where narrow and high-speed transportation systems, are based in the traditions of the past but use the technologies of the future.

The Ideas of Modernism

While tradition defines limits and establishes a sense of fixed social rightness and order, Modernism advocates the eclipse of accepted truths and traditional values. Modernism has its roots in social, political and industrial revolutions which began in the late-eighteenth century. It is a force for a more equitarian, more politicized world. It is a force which changes the world by changing the way we look at the world. In other words it alters the base upon which our values and standards are established.

The ideology of Modernism, in challenging accepted sentiments and conventions often emphasized constativeness, it is always fresh, always challenging, often unpredictable and inconclusive. For example, Colin Rohn has pointed out that modern architecture's preoccupation with the "problem of the built solid" or the building as "insulated object" (Fig. 4) contrasts sharply with the traditional concern for the passive and transient angle and the structure of space over other things. Yet he is cautious to distinguish the cultivated tradition, which maintained a stubborn reliance on the past while justifying its present through the theory of taste. From the vernacular tradition, which developed more freely, but more on this idea of a dynamic tradition later.

Marshall McLuhan's "global village" and William Irwin Thompson's "meta-industrial village," both created by modern communications technology and high-speed transportation systems, are based in the traditions of the past but use the technologies of the future. Today we live in a space where narrow and high-speed transportation systems, are based in the traditions of the past but use the technologies of the future.

The Ideas of Modernism

While tradition defines limits and establishes a sense of fixed social rightness and order, Modernism advocates the eclipse of accepted truths and traditional values. Modernism has its roots in social, political and industrial revolutions which began in the late-eighteenth century. It is a force for a more equitarian, more politicized world. It is a force which changes the world by changing the way we look at the world. In other words it alters the base upon which our values and standards are established.

The ideology of Modernism, in challenging accepted sentiments and conventions often emphasized constativeness, it is always fresh, always challenging, often unpredictable and inconclusive. For example, Colin Rohn has pointed out that modern architecture's preoccupation with the "problem of the built solid" or the building as "insulated object" (Fig. 4) contrasts sharply with the traditional concern for the passive and transient angle and the structure of space over other things. Yet he is cautious to distinguish the cultivated tradition, which maintained a stubborn reliance on the past while justifying its present through the theory of taste. From the vernacular tradition, which developed more freely, but more on this idea of a dynamic tradition later.

Marshall McLuhan's "global village" and William Irwin Thompson's "meta-industrial village," both created by modern communications technology and high-speed transportation systems, are based in the traditions of the past but use the technologies of the future. Today we live in a space where narrow and high-speed transportation systems, are based in the traditions of the past but use the technologies of the future.

The Ideas of Modernism

While tradition defines limits and establishes a sense of fixed social rightness and order, Modernism advocates the eclipse of accepted truths and traditional values. Modernism has its roots in social, political and industrial revolutions which began in the late-eighteenth century. It is a force for a more equitarian, more politicized world. It is a force which changes the world by changing the way we look at the world. In other words it alters the base upon which our values and standards are established.

The ideology of Modernism, in challenging accepted sentiments and conventions often emphasized constativeness, it is always fresh, always challenging, often unpredictable and inconclusive. For example, Colin Rohn has pointed out that modern architecture's preoccupation with the "problem of the built solid" or the building as "insulated object" (Fig. 4) contrasts sharply with the traditional concern for the passive and transient angle and the structure of space over other things. Yet he is cautious to distinguish the cultivated tradition, which maintained a stubborn reliance on the past while justifying its present through the theory of taste. From the vernacular tradition, which developed more freely, but more on this idea of a dynamic tradition later.

Marshall McLuhan's "global village" and William Irwin Thompson's "meta-industrial village," both created by modern communications technology and high-speed transportation systems, are based in the traditions of the past but use the technologies of the future. Today we live in a space where narrow and high-speed transportation systems, are based in the traditions of the past but use the technologies of the future.

The Ideas of Modernism

While tradition defines limits and establishes a sense of fixed social rightness and order, Modernism advocates the eclipse of accepted truths and traditional values. Modernism has its roots in social, political and industrial revolutions which began in the late-eighteenth century. It is a force for a more equitarian, more politicized world. It is a force which changes the world by changing the way we look at the world. In other words it alters the base upon which our values and standards are established.

The ideology of Modernism, in challenging accepted sentiments and conventions often emphasized constativeness, it is always fresh, always challenging, often unpredictable and inconclusive. For example, Colin Rohn has pointed out that modern architecture's preoccupation with the "problem of the built solid" or the building as "insulated object" (Fig. 4) contrasts sharply with the traditional concern for the passive and transient angle and the structure of space over other things. Yet he is cautious to distinguish the cultivated tradition, which maintained a stubborn reliance on the past while justifying its present through the theory of taste. From the vernacular tradition, which developed more freely, but more on this idea of a dynamic tradition later.

Marshall McLuhan's "global village" and William Irwin Thompson's "meta-industrial village," both created by modern communications technology and high-speed transportation systems, are based in the traditions of the past but use the technologies of the future. Today we live in a space where narrow and high-speed transportation systems, are based in the traditions of the past but use the technologies of the future.

The Ideas of Modernism

While tradition defines limits and establishes a sense of fixed social rightness and order, Modernism advocates the eclipse of accepted truths and traditional values. Modernism has its roots in social, political and industrial revolutions which began in the late-eighteenth century. It is a force for a more equitarian, more politicized world. It is a force which changes the world by changing the way we look at the world. In other words it alters the base upon which our values and standards are established.

The ideology of Modernism, in challenging accepted sentiments and conventions often emphasized constativeness, it is always fresh, always challenging, often unpredictable and inconclusive. For example, Colin Rohn has pointed out that modern architecture's preoccupation with the "problem of the built solid" or the building as "insulated object" (Fig. 4) contrasts sharply with the traditional concern for the passive and transient angle and the structure of space over other things. Yet he is cautious to distinguish the cultivated tradition, which maintained a stubborn reliance on the past while justifying its present through the theory of taste. From the vernacular tradition, which developed more freely, but more on this idea of a dynamic tradition later.

Marshall McLuhan's "global village" and William Irwin Thompson's "meta-industrial village," both created by modern communications technology and high-speed transportation systems, are based in the traditions of the past but use the technologies of the future. Today we live in a space where narrow and high-speed transportation systems, are based in the traditions of the past but use the technologies of the future.

The Ideas of Modernism

While tradition defines limits and establishes a sense of fixed social rightness and order, Modernism advocates the eclipse of accepted truths and traditional values. Modernism has its roots in social, political and industrial revolutions which began in the late-eighteenth century. It is a force for a more equitarian, more politicized world. It is a force which changes the world by changing the way we look at the world. In other words it alters the base upon which our values and standards are established.

The ideology of Modernism, in challenging accepted sentiments and conventions often emphasized constativeness, it is always fresh, always challenging, often unpredictable and inconclusive. For example, Colin Rohn has pointed out that modern architecture's preoccupation with the "problem of the built solid" or the building as "insulated object" (Fig. 4) contrasts sharply with the traditional concern for the passive and transient angle and the structure of space over other things. Yet he is cautious to distinguish the cultivated tradition, which maintained a stubborn reliance on the past while justifying its present through the theory of taste. From the vernacular tradition, which developed more freely, but more on this idea of a dynamic tradition later.

Marshall McLuhan's "global village" and William Irwin Thompson's "meta-industrial village," both created by modern communications technology and high-speed transportation systems, are based in the traditions of the past but use the technologies of the future. Today we live in a space where narrow and high-speed transportation systems, are based in the traditions of the past but use the technologies of the future.

The Ideas of Modernism

While tradition defines limits and establishes a sense of fixed social rightness and order, Modernism advocates the eclipse of accepted truths and traditional values. Modernism has its roots in social, political and industrial revolutions which began in the late-eighteenth century. It is a force for a more equitarian, more politicized world. It is a force which changes the world by changing the way we look at the world. In other words it alters the base upon which our values and standards are established.

The ideology of Modernism, in challenging accepted sentiments and conventions often emphasized constativeness, it is always fresh, always challenging, often unpredictable and inconclusive. For example, Colin Rohn has pointed out that modern architecture's preoccupation with the "problem of the built solid" or the building as "insulated object" (Fig. 4) contrasts sharply with the traditional concern for the passive and transient angle and the structure of space over other things. Yet he is cautious to distinguish the cultivated tradition, which maintained a stubborn reliance on the past while justifying its present through the theory of taste. From the vernacular tradition, which developed more freely, but more on this idea of a dynamic tradition later.

Marshall McLuhan's "global village" and William Irwin Thompson's "meta-industrial village," both created by modern communications technology and high-speed transportation systems, are based in the traditions of the past but use the technologies of the future. Today we live in a space where narrow and high-speed transportation systems, are based in the traditions of the past but use the technologies of the future.

The Ideas of Modernism

While tradition defines limits and establishes a sense of fixed social rightness and order, Modernism advocates the eclipse of accepted truths and traditional values. Modernism has its roots in social, political and industrial revolutions which began in the late-eighteenth century. It is a force for a more equitarian, more politicized world. It is a force which changes the world by changing the way we look at the world. In other words it alters the base upon which our values and standards are established.

The ideology of Modernism, in challenging accepted sentiments and conventions often emphasized constativeness, it is always fresh, always challenging, often unpredictable and inconclusive. For example, Colin Rohn has pointed out that modern architecture's preoccupation with the "problem of the built solid" or the building as "insulated object" (Fig. 4) contrasts sharply with the traditional concern for the passive and transient angle and the structure of space over other things. Yet he is cautious to distinguish the cultivated tradition, which maintained a stubborn reliance on the past while justifying its present through the theory of taste. From the vernacular tradition, which developed more freely, but more on this idea of a dynamic tradition later.

Marshall McLuhan's "global village" and William Irwin Thompson's "meta-industrial village," both created by modern communications technology and high-speed transportation systems, are based in the traditions of the past but use the technologies of the future. Today we live in a space where narrow and high-speed transportation systems, are based in the traditions of the past but use the technologies of the future.

The Ideas of Modernism

While tradition defines limits and establishes a sense of fixed social rightness and order, Modernism advocates the eclipse of accepted truths and traditional values. Modernism has its roots in social, political and industrial revolutions which began in the late-eighteenth century. It is a force for a more equitarian, more politicized world. It is a force which changes the world by changing the way we look at the world. In other words it alters the base upon which our values and standards are established.

The ideology of Modernism, in challenging accepted sentiments and conventions often emphasized constativeness, it is always fresh, always challenging, often unpredictable and inconclusive. For example, Colin Rohn has pointed out that modern architecture's preoccupation with the "problem of the built solid" or the building as "insulated object" (Fig. 4) contrasts sharply with the traditional concern for the passive and transient angle and the structure of space over other things. Yet he is cautious to distinguish the cultivated tradition, which maintained a stubborn reliance on the past while justifying its present through the theory of taste. From the vernacular tradition, which developed more freely, but more on this idea of a dynamic tradition later.

Marshall McLuhan's "global village" and William Irwin Thompson's "meta-industrial village," both created by modern communications technology and high-speed transportation systems, are based in the traditions of the past but use the technologies of the future. Today we live in a space where narrow and high-speed transportation systems, are based in the traditions of the past but use the technologies of the future.

The Ideas of Modernism

While tradition defines limits and establishes a sense of fixed social rightness and order, Modernism advocates the eclipse of accepted truths and traditional values. Modernism has its roots in social, political and industrial revolutions which began in the late-eighteenth century. It is a force for a more equitarian, more politicized world. It is a force which changes the world by changing the way we look at the world. In other words it alters the base upon which our values and standards are established.

The ideology of Modernism, in challenging accepted sentiments and conventions often emphasized constativeness, it is always fresh, always challenging, often unpredictable and inconclusive. For example, Colin Rohn has pointed out that modern architecture's preoccupation with the "problem of the built solid" or the building as "insulated object" (Fig. 4) contrasts sharply with the traditional concern for the passive and transient angle and the structure of space over other things. Yet he is cautious to distinguish the cultivated tradition, which maintained a stubborn reliance on the past while justifying its present through the theory of taste. From the vernacular tradition, which developed more freely, but more on this idea of a dynamic tradition later.

Marshall McLuhan's "global village" and William Irwin Thompson's "meta-industrial village," both created by modern communications technology and high-speed transportation systems

Three Approaches

Given the anthropological model of society as a unified phenomenon combining both urban and rural structures and an underlying deep structure, Umberto Eco poses three possible approaches for building. First, he suggests that the architect could "dispose with the conventional architecture and replace the people who live with a totally different architecture." In the third approach the architect "could undertake to create an architecture that would be new but that would be intended to be new but that would be intended to be new but that would be intended to be new but that would be intended to be new but that would be intended to be new but that would be intended to be new but that would be intended to be new but that would be intended to be new but that would be intended to be new but that would be intended to be new but that would be intended to be new but that would be intended to be new but that would be intended to be new but that would be intended to be new but that would be intended to be new but that would be intended to be new but that would be intended to be new but that would be intended to be new but that would be intended to be new but that would be intended to be new but that would be intended to be new but that would be intended to be new but that would be intended to be new but that would be intended to be new but that would 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mass production brought on by the Industrial Revolution, by new materials like reinforced concrete, high-tech steel and glass, by the rise of the middle class and by new forms of communication and transportation. They saw that old forms of architecture and old traditional clues were entirely incapable of supporting the modern life implied by all these events. Modern architects focused their visions into the future past the havoc and destruction caused by WWII. Rebuilding Europe without the fetters of tradition and the past was the goal. The spirit of the age was the spirit of Modernism. Yet this is not the point. The question, as posed earlier, is can the Modernist ideology provide a basis for the understanding and designing of a vernacular architecture or do Modernist architecture do upon which vernacular architecture exists? To reflect genuinely the spirit of Modernism while at the same time satisfying the traditional perceptions for a vernacular architecture seems both unreasonable and improbable. In a shrinking world, why should architecture be bound by the conscientious approach to the basic and therefore must be in the advance guard of architectural evolution. But most architectural students enter their educational programs with a middle-class upbringing and the architectural educational system, rather than broadening the available paradigms, tends to shrink them. In other words, architecture is a change upon which the Modernist ideology might be appropriate. Instead, they replace their own traditional set of values with a Modernist set, a set designed to stimulate studio exercises, educational methodology and curricula.

But Eco offers a third approach, one which, if we read between the lines, he advocates. This third approach or paradigm aims to link the basic codes and conventions of society with the implications of community through or by new developments. Its goal is to produce an architecture that would be understood and accepted because its basis exists from any that has yet appeared. “He key point is that architecture, or for that matter any sign system, can ‘institute moments of high information content,’ but only when they are supported by a certain amount of redundancy.” This means that the traditionalism and Modernism, this is the one. It is the only method which can respond to the question of continuity in a vernacular architecture, whether that architecture happens to exist in America or a third-world nation. Certain the work of living Bill (Fig 7) in southern California in the early part of this century, satisfied this requirement of being both regionally distinct while also anticipating changes in construction technology, especially the use of poured-in-place tilt-up concrete walls. Maybeck’s work in the San Francisco Bay area with new materials and construction techniques carried on the tradition of the southern California stick and bungalow style while setting new standards for wood detailing. Such evidence would test whether architecture occurs at a more rapid pace than changes in social and cultural values. Although this is not an earthshaker or moveable monument, it may temperate approach to design. If the typical projects published in the architectural journals are any indication it seems that

Most importantly, it is the ideology of Modernism and the nature of its agent, the avant garde, which rule out the creation of a modernist architecture using a Modernist ideology. Robert Venturi, one of the architects whose work and writing broke through the boundaries created by modern architecture considers his practice to be elitist. Venturi’s work is guided by theoretical constructs; constructs which, like orthodox modern architecture, create an intellectual atmosphere. His reflections, precedents or “quotes,” are derived from an array of buildings that lie outside the city and community of users. His practice, like most of the more high publicly practiced today, could be called esoteric; it is designed and underwood only by the initiate. In an esoteric practice a set of ideas and an associated formal language, one that could be called elitist, mediates the design process.

When one is forced to choose between the ideological codes of Modernism or those of traditionalism, which are necessary to generate a new vernacular, it is Modernism that is usually chosen. This is so because the Modernist ideology most closely approximates the view that architecture is a change upon which the architectural educational system, rather than broadening the available paradigms, tends to shrink them. In other words, architecture is a change upon which the Modernist ideology might be appropriate. Instead, they replace their own traditional set of values with a Modernist set, a set designed to stimulate studio exercises, educational methodology and curricula.

But Eco offers a third approach, one which, if we read between the lines, he advocates. This third approach or paradigm aims to link the basic codes and conventions of society with the implications of community through or by new developments. Its goal is to produce an architecture that would be understood and accepted because its basis exists from any that has yet appeared. “He key point is that architecture, or for that matter any sign system, can ‘institute moments of high information content,’ but only when they are supported by a certain amount of redundancy.” This means that the traditionalism and Modernism, this is the one. It is the only method which can respond to the question of continuity in a vernacular architecture, whether that architecture happens to exist in America or a third-world nation. Certain the work of living Bill (Fig 7) in southern California in the early part of this century, satisfied this requirement of being both regionally distinct while also anticipating changes in construction technology, especially the use of poured-in-place tilt-up concrete walls. Maybeck’s work in the San Francisco Bay area with new materials and Greenbeers carried on the tradition of the southern California stick and bungalow style while setting new standards for wood detailing. Such evidence would test whether architecture occurs at a more rapid pace than changes in social and cultural values. Although this is not an earthshaker or moveable monument, it may temperate approach to design. If the typical projects published in the architectural journals are any indication it seems that

Fig. 6. Church, Teak, New Mexico (photo by author)

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most architects are far more competent when they rely on tradition than when they return to a romantic history, cynicism intended because this approach has been doing for centuries, and doing well at it.

When Christian Norberg-Schulz calls for the "recovery of place," he doesn't mean a return to a romantic history, an abstract formalism or a pseudo-classicism. He means the creation of an architecture that possesses figural character in relation to the landscape has a clear and well-defined sense of place, has a social inside and outspoken local character. He feels that a theory of place unites modern architecture with the past and satisfies demand for continuity. A true and enduring architecture springs from the understanding of a way of life concretized in delivery to the landscape has a clear and well-defined sense of place, has a social inside and outspoken local character. He feels that a theory of place unites modern architecture with the past and satisfies demand for continuity. A true and enduring architecture springs from the understanding of a way of life concretized in delivery to the landscape has a clear and well-defined sense of place, has a social inside and outspoken local character.

He feels that a theory of place unites modern architecture with the past and satisfies demand for continuity. A true and enduring architecture springs from the understanding of a way of life concretized in delivery to the landscape has a clear and well-defined sense of place, has a social inside and outspoken local character.

He feels that a theory of place unites modern architecture with the past and satisfies demand for continuity. A true and enduring architecture springs from the understanding of a way of life concretized in delivery to the landscape has a clear and well-defined sense of place, has a social inside and outspoken local character.

He feels that a theory of place unites modern architecture with the past and satisfies demand for continuity. A true and enduring architecture springs from the understanding of a way of life concretized in delivery to the landscape has a clear and well-defined sense of place, has a social inside and outspoken local character.

He feels that a theory of place unites modern architecture with the past and satisfies demand for continuity. A true and enduring architecture springs from the understanding of a way of life concretized in delivery to the landscape has a clear and well-defined sense of place, has a social inside and outspoken local character.

He feels that a theory of place unites modern architecture with the past and satisfies demand for continuity. A true and enduring architecture springs from the understanding of a way of life concretized in delivery to the landscape has a clear and well-defined sense of place, has a social inside and outspoken local character.

He feels that a theory of place unites modern architecture with the past and satisfies demand for continuity. A true and enduring architecture springs from the understanding of a way of life concretized in delivery to the landscape has a clear and well-defined sense of place, has a social inside and outspoken local character.

He feels that a theory of place unites modern architecture with the past and satisfies demand for continuity. A true and enduring architecture springs from the understanding of a way of life concretized in delivery to the landscape has a clear and well-defined sense of place, has a social inside and outspoken local character.

He feels that a theory of place unites modern architecture with the past and satisfies demand for continuity. A true and enduring architecture springs from the understanding of a way of life concretized in delivery to the landscape has a clear and well-defined sense of place, has a social inside and outspoken local character.

He feels that a theory of place unites modern architecture with the past and satisfies demand for continuity. A true and enduring architecture springs from the understanding of a way of life concretized in delivery to the landscape has a clear and well-defined sense of place, has a social inside and outspoken local character.

He feels that a theory of place unites modern architecture with the past and satisfies demand for continuity. A true and enduring architecture springs from the understanding of a way of life concretized in delivery to the landscape has a clear and well-defined sense of place, has a social inside and outspoken local character.

He feels that a theory of place unites modern architecture with the past and satisfies demand for continuity. A true and enduring architecture springs from the understanding of a way of life concretized in delivery to the landscape has a clear and well-defined sense of place, has a social inside and outspoken local character.

He feels that a theory of place unites modern architecture with the past and satisfies demand for continuity. A true and enduring architecture springs from the understanding of a way of life concretized in delivery to the landscape has a clear and well-defined sense of place, has a social inside and outspoken local character.

He feels that a theory of place unites modern architecture with the past and satisfies demand for continuity. A true and enduring architecture springs from the understanding of a way of life concretized in delivery to the landscape has a clear and well-defined sense of place, has a social inside and outspoken local character.

He feels that a theory of place unites modern architecture with the past and satisfies demand for continuity. A true and enduring architecture springs from the understanding of a way of life concretized in delivery to the landscape has a clear and well-defined sense of place, has a social inside and outspoken local character.

He feels that a theory of place unites modern architecture with the past and satisfies demand for continuity. A true and enduring architecture springs from the understanding of a way of life concretized in delivery to the landscape has a clear and well-defined sense of place, has a social inside and outspoken local character.

He feels that a theory of place unites modern architecture with the past and satisfies demand for continuity. A true and enduring architecture springs from the understanding of a way of life concretized in delivery to the landscape has a clear and well-defined sense of place, has a social inside and outspoken local character.

He feels that a theory of place unites modern architecture with the past and satisfies demand for continuity. A true and enduring architecture springs from the understanding of a way of life concretized in delivery to the landscape has a clear and well-defined sense of place, has a social inside and outspoken local character.

He feels that a theory of place unites modern architecture with the past and satisfies demand for continuity. A true and enduring architecture springs from the understanding of a way of life concretized in delivery to the landscape has a clear and well-defined sense of place, has a social inside and outspoken local character.

He feels that a theory of place unites modern architecture with the past and satisfies demand for continuity. A true and enduring architecture springs from the understanding of a way of life concretized in delivery to the landscape has a clear and well-defined sense of place, has a social inside and outspoken local character.

He feels that a theory of place unites modern architecture with the past and satisfies demand for continuity. A true and enduring architecture springs from the understanding of a way of life concretized in delivery to the landscape has a clear and well-defined sense of place, has a social inside and outspoken local character.

He feels that a theory of place unites modern architecture with the past and satisfies demand for continuity. A true and enduring architecture springs from the understanding of a way of life concretized in delivery to the landscape has a clear and well-defined sense of place, has a social inside and outspoken local character.

He feels that a theory of place unites modern architecture with the past and satisfies demand for continuity. A true and enduring architecture springs from the understanding of a way of life concretized in delivery to the landscape has a clear and well-defined sense of place, has a social inside and outspoken local character.

He feels that a theory of place unites modern architecture with the past and satisfies demand for continuity. A true and enduring architecture springs from the understanding of a way of life concretized in delivery to the landscape has a clear and well-defined sense of place, has a social inside and outspoken local character.

He feels that a theory of place unites modern architecture with the past and satisfies demand for continuity. A true and enduring architecture springs from the understanding of a way of life concretized in delivery to the landscape has a clear and well-defined sense of place, has a social inside and outspoken local character.

He feels that a theory of place unites modern architecture with the past and satisfies demand for continuity. A true and enduring architecture springs from the understanding of a way of life concretized in delivery to the landscape has a clear and well-defined sense of place, has a social inside and outspoken local character.

He feels that a theory of place unites modern architecture with the past and satisfies demand for continuity. A true and enduring architecture springs from the understanding of a way of life concretized in delivery to the landscape has a clear and well-defined sense of place, has a social inside and outspoken local character.

He feels that a theory of place unites modern architecture with the past and satisfies demand for continuity. A true and enduring architecture springs from the understanding of a way of life concretized in delivery to the landscape has a clear and well-defined sense of place, has a social inside and outspoken local character.

He feels that a theory of place unites modern architecture with the past and satisfies demand for continuity. A true and enduring architecture springs from the understanding of a way of life concretized in delivery to the landscape has a clear and well-defined sense of place, has a social inside and outspoken local character.

He feels that a theory of place unites modern architecture with the past and satisfies demand for continuity. A true and enduring architecture springs from the understanding of a way of life concretized in delivery to the landscape has a clear and well-defined sense of place, has a social inside and outspoken local character.

He feels that a theory of place unites modern architecture with the past and satisfies demand for continuity. A true and enduring architecture springs from the understanding of a way of life concretized in delivery to the landscape has a clear and well-defined sense of place, has a social inside and outspoken local character.

He feels that a theory of place unites modern architecture with the past and satisfies demand for continuity. A true and enduring architecture springs from the understanding of a way of life concretized in delivery to the landscape has a clear and well-defined sense of place, has a social inside and outspoken local character.

He feels that a theory of place unites modern architecture with the past and satisfies demand for continuity. A true and enduring architecture springs from the understanding of a way of life concretized in delivery to the landscape has a clear and well-defined sense of place, has a social inside and outspoken local character.

He feels that a theory of place unites modern architecture with the past and satisfies demand for continuity. A true and enduring architecture springs from the understanding of a way of life concretized in delivery to the landscape has a clear and well-defined sense of place, has a social inside and outspoken local character.

He feels that a theory of place unites modern architecture with the past and satisfies demand for continuity. A true and enduring architecture springs from the understanding of a way of life concretized in delivery to the landscape has a clear and well-defined sense of place, has a social inside and outspoken local character.

He feels that a theory of place unites modern architecture with the past and satisfies demand for continuity. A true and enduring architecture springs from the understanding of a way of life concretized in delivery to the landscape has a clear and well-defined sense of place, has a social inside and outspoken local character.

He feels that a theory of place unites modern architecture with the past and satisfies demand for continuity. A true and enduring architecture springs from the understanding of a way of life concretized in delivery to the landscape has a clear and well-defined sense of place, has a social inside and outspoken local character.

He feels that a theory of place unites modern architecture with the past and satisfies demand for continuity. A true and enduring architecture springs from the understanding of a way of life concretized in delivery to the landscape has a clear and well-defined sense of place, has a social inside and outspoken local character.

He feels that a theory of place unites modern architecture with the past and satisfies demand for continuity. A true and enduring architecture springs from the understanding of a way of life concretized in delivery to the landscape has a clear and well-defined sense of place, has a social inside and outspoken local character.

He feels that a theory of place unites modern architecture with the past and satisfies demand for continuity. A true and enduring architecture springs from the understanding of a way of life concretized in delivery to the landscape has a clear and well-defined sense of place, has a social inside and outspoken local character.

He feels that a theory of place unites modern architecture with the past and satisfies demand for continuity. A true and enduring architecture springs from the understanding of a way of life concretized in delivery to the landscape has a clear and well-defined sense of place, has a social inside and outspoken local character.

He feels that a theory of place unites modern architecture with the past and satisfies demand for continuity. A true and enduring architecture springs from the understanding of a way of life concretized in delivery to the landscape has a clear and well-defined sense of place, has a social inside and outspoken local character.

He feels that a theory of place unites modern architecture with the past and satisfies demand for continuity. A true and enduring architecture springs from the understanding of a way of life concretized in delivery to the landscape has a clear and well-defined sense of place, has a social inside and outspoken local character.

He feels that a theory of place unites modern architecture with the past and satisfies demand for continuity. A true and enduring architecture springs from the understanding of a way of life concretized in delivery to the landscape has a clear and well-defined sense of place, has a social inside and outspoken local character.

He feels that a theory of place unites modern architecture with the past and satisfies demand for continuity. A true and enduring architecture springs from the understanding of a way of life concretized in delivery to the landscape has a clear and well-defined sense of place, has a social inside and outspoken local character.

He feels that a theory of place unites modern architecture with the past and satisfies demand for continuity. A true and enduring architecture springs from the understanding of a way of life concretized in delivery to the landscape has a clear and well-defined sense of place, has a social inside and outspoken local character.

He feels that a theory of place unites modern architecture with the past and satisfies demand for continuity. A true and enduring architecture springs from the understanding of a way of life concretized in delivery to the landscape has a clear and well-defined sense of place, has a social inside and outspoken local character.

He feels that a theory of place unites modern architecture with the past and satisfies demand for continuity. A true and enduring architecture springs from the understanding of a way of life concretized in delivery to the landscape has a clear and well-defined sense of place, has a social inside and outspoken local character.

He feels that a theory of place unites modern architecture with the past and satisfies demand for continuity. A true and enduring architecture springs from the understanding of a way of life concretized in delivery to the landscape has a clear and well-defined sense of place, has a social inside and outspoken local character.

He feels that a theory of place unites modern architecture with the past and satisfies demand for continuity. A true and enduring architecture springs from the understanding of a way of life concretized in delivery to the landscape has a clear and well-defined sense of place, has a social inside and outspoken local character.

He feels that a theory of place unites modern architecture with the past and satisfies demand for continuity. A true and enduring architecture springs from the understanding of a way of life concretized in delivery to the landscape has a clear and well-defined sense of place, has a social inside and outspoken local character.

He feels that a theory of place unites modern architecture with the past and satisfies demand for continuity. A true and enduring architecture springs from the understanding of a way of life concretized in delivery to the landscape has a clear and well-defined sense of place, has a social inside and outspoken local character.

He feels that a theory of place unites modern architecture with the past and satisfies demand for continuity. A true and enduring architecture springs from the understanding of a way of life concretized in delivery to the landscape has a clear and well-defined sense of place, has a social inside and outspoken local character.

He feels that a theory of place unites modern architecture with the past and satisfies demand for continuity. A true and enduring architecture springs from the understanding of a way of life concretized in delivery to the landscape has a clear and well-defined sense of place, has a social inside and outspoken local character.

He feels that a theory of place unites modern architecture with the past and satisfies demand for continuity. A true and enduring architecture springs from the understanding of a way of life concretized in delivery to the landscape has a clear and well-defined sense of place, has a social inside and outspoken local character.

He feels that a theory of place unites modern architecture with the past and satisfies demand for continuity. A true and enduring architecture springs from the understanding of a way of life concretized in delivery to the landscape has a clear and well-defined sense of place, has a social inside and outspoken local character.

He feels that a theory of place unites modern architecture with the past and satisfies demand for continuity. A true and enduring architecture springs from the understanding of a way of life concretized in delivery to the landscape has a clear and well-defined sense of place, has a social inside and outspoken local character.

He feels that a theory of place unites modern architecture with the past and satisfies demand for continuity. A true and enduring architecture springs from the understanding