Einherjar86
Active Member
Well there's going to be some murkiness in discussing aesthetic issues, and for such a short length (and I cringed a bit when QM was invoked), but there's a dual point between the "geometric properties" and "complementarity." It's not that globally everything should conform, as there's plenty of room for variation as pre-20th century global architecture....much more variation than what has turned into steel/concrete/glass everything everywhere (although now the shift is into the "AirSpace" aesthetic, at least for interiors). It's just that within a given area things "go together," rhyming how nature tends not to have sharp shifts in the environment at the human level.
I'm wondering whether the variation we see prior to the twentieth century is actually evidence of variation in contemporaneous architectural practice, or merely a reflection of architectural change over time. The steel, concrete, and glass that we see today is a historically limited trend, and there's no reason to assume it won't play itself out, as older traditions have. I'm not sure if the authors think we should return to the tenets of Corinthian architecture, or if architects should incorporate such tenets into modern buildings.
I pulled up some photos of Copley square and it has a certain "museum" quality, which while interesting, is too "jarring" to be what these authors would likely consider a healthy livable space, and I'm inclined to agree. You mentioned function and brutalism, for obvious reasons, and I think that the problem is that this conceptualization of "function" is not based on human function. Brutalism was probably left off as it's long been a whipping boy for more traditional architectural aestheticists.
Copley Square isn't a residential area. I'm inclined to say that the kind of heterogeneity, if not randomness, that these authors are targeting isn't common in most residential areas; or if it is, it's not because of modernism's visual credo or avant-garde aesthetics. They seem to be either a) explaining a real problem by appealing to an unlikely source, or b) imagining a problem that doesn't exist, architecturally speaking. Again, the modern building they contrast with the Piazza di Spagna isn't exemplary of architectural modernism. It's just a bland, functional building (which they don't bother to identify, but treat as exemplary).
I think they're right about the science behind aesthetic appreciation, but I'm not sure they make a compelling case for visual modernism as a driving factor behind the poor psychological/emotional well-being of people living in urban residential areas.
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