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Culture,Merchandise,
New Architecture
at the Millennium
BRUCETHOMAS,Lehigh University
Muchof the recent discussion about architecturaltheory concerns the socalled New Spirit in design, an approach that urges a redefinitionof architecture in ways "more appropriate"to our media-driven,commercially
dominated millennialculture. Manyof these ideas are wrapped around their
own newness. Yet if examined closely, the newest new is not withoutprecedent. More troubling is the contention that the qualityof empathy in architecture must be redefined. Empathyhas been essential to the shaping of the
built environment, a characteristic that most literally renders architecture a
humanist endeavor. Yet now we are being told that an appropriate empathy
for our time does not celebrate our place in the universe; rather, the human
condition is one of violation and abuse.
This essay questions the New Spirit'sclaim of newness and its interpretation of empathy. The appropriationof unprecedented newness is contradicted by even the most superficial examination of various avant-garde
movements that have paraded through the twentieth century. The essay further argues that a theory that finds the Enlightenmentdefinitionof empathy
to be a mask for human abuse and degradation is no more than "tabloidhumanism,"perhaps appropriateto our age, but nonetheless a perversion
when applied to the discipline of architecture.
architecture a fine art. An understanding of materials and technology makes architecture a complex science. Good intentions and benevolent principles make building a responsible and ennobling
endeavor. Encompassing all of these skills and ideals, architecture,
as Ralph Erskine has defined it, is "that rich and all-embracing
weave of practical and spiritual satisfactions . . . this exceptional art
May1997JAE50/4
254
256
In magazines,in galleries,and now on the street,high-stylearchitectureis awashwith dazzlingmodels,drawings,andcomputer-generatedimages,some of which seem intentionallydesignedto defy
comprehensionand so plead to be recognizedas New. Each new
thing is accompaniedby legions of acolyteswho prefernot to be
troubledby the skeptic.Most of the authorsof the New claim that
the conditions of our age, and consequently the very nature of
today'sdesign theory,are unprecedented-that the New Spiritor
New Freedomis quintessentiallyNew. It is importantto establish
the validityof such a claim becausemuch recenttheoryis wrapped
aroundthe singulartruthof its own newness.If the corepremiseis
shaky,the possibilityexiststhat the latesttheoryis merefashionseductive,entertaining,stylish, but somethingless than a body of
essentialprincipleswith which to design.
One of the shared tenets of New Spirit or New Freedom
theoristsis that basicassumptionsaboutsociety,and consequently
also about architecture,need to be redefined.Rocksof stabilitysuch as the epistemologyof the Enlightenment,faith in socialsystems of order, the rationalessence of architectureas it has been
defined for centuries,architectureitself-are thus swept awayby
the chaotictidalwavethatis the latestmodernity.The transcendent
lesson of culturalmodernism,we aretold, is thatwe areno longer
masters of our own productions.20 We are faced with the
neoexistentialistrealizationthat eachof us is on his or her own and
no one gets out of herealive.All that is solid melts into air.21
The rationale for changing long-held assumptions about
Westernsocietyand aboutarchitectureas we haveknown it is that
traditionaldefinitions no longer are appropriatefor the unprecedentedspiritof our time. The age,we aretold, is relentlesslycommercial.Consequently,design,as an inherentlypublicartand thus
a creatureof popularculture,is above all else a commercialproduct. The commercialmilieu is by naturequixotic,less than stable.
Architectureas we haveknown it is, then, too permanent,too durablefor the culturein which it would exist. In fact, it is claimed,
the durableworldwe haveknown, one that has been the particular
domainof building,is itselfcoming to an end.
In the past, the coming of a millenniumhas produceddire
and frighteningpredictions.Similarly,today'scriticsand theorists
tell us to braceourselvesfor tomorrow.Recentupheavalsin theory
and design speakof a new intellectualismthat is just now flowering in unprecedentedforms.The new architectureis evidencethat
some arein touch-more so than everbefore,it is implied-with a
societyhurtlingtowarda completelynew world.
The new aestheticand the ideasthatunderpinits formsmake
an
up interestingclosedloop of logic: In an anarchicage like ours,
257
of the firstthousand-yearcycleof the westerncalendarand the doings of latermedievalreligiousrevolutionariesand mysticalanarchists.Ironically,the Judaicand Christiantraditionsof apocalypse
are part of the foundation of Western culture, the same societal
structurethat, we are told, must be significantlyreworkedto conformto the most recentapocalypticvision. Millenarianism,the belief that the thousand-yearintervalwould conclude in the Last
Judgment,explainedthat life would be utterlytransformedas history reachedits culmination.Salvationwould be obtainedby the
reshapingof a world dominatedby evil, a society completelycorruptedby tyrannicalpowerscapableof destroyinglife as it had been
known.27 If this sounds familiar, it is probably because the
visionof a societyin needof salvationis not dissimilar
millenarians'
to the depictionsof recenttheorists,suchas LebbeusWoods, of our
own age.However,salvationis apparentlyto be differentfromwhat
it was imaginedto be at the lastturnof a millennium.Woods'snotion of resurrectedperfection,shapedby a preferencefor a specific
not only in architecture
visualstyle(one popularized,appropriately,
but in the massmedia,namely,the postapocalypticMadMaxmovies), includesa new, better,dynamicform of human community
Much of the resignationto suparisingfromhis scary"free-zones."
posed destructivetendenciesof capitalismand cynical images of
commercefoundin today'sNew SpiritandNew Freedomin design
is the secularcounterpartto the MiddleAges'recognitionof Satan's
tyrannicalpowers.Ironically,millenariansthemselveswereoncesaid
to engagein "theheresyof the FreeSpirit."28
Evenas appliedto artandarchitecture,
the termsfreespiritand
newspiritpredateAcademyEditions.29
They havecome up now and
againsincethe MiddleAges,with theirmost insistentuse occurring
throughoutthis century.Ambitiousclaimsof significanceand validationby attachmentto scienceand cultureusuallyaccompanythe
invocation.The lastturnof a centuryspawnednumerousgroupsof
culturalreformers,from secessioniststo futurists,most of whom
claimedto recognizeand incorporatea trulynew humancondition.
In 1917, GuillaumeApollinaireexplainedin "l'Espritnouveau,"his
essayon cubism,"Thenew spiritstrugglesto open newviewson the
exteriorand interioruniversewhich shall not be inferiorto those
which scholarsof everycategoryare discoveringeach day . .. The
new spiritdistinguishesitselffromall the artisticand literarymovements which have preceded it."30Less than a decade later, Le
Corbusierusedthe termforhis Pavillionde L'EspritNouveauat the
1925 Expositiondes Arts Decoratifs.Meanwhile,Germany'smost
important architecturaltheoristswere busy formulatinga Neue
a new objectivity,thatwould lay the groundworkfor a
Sachlichkeit,
new freedomin design. Off in the metaphoricalmountains,Paul
May1997 JAE50/4
258
New Empathy
Physicalformspossessa characteronly becausewe ourselves
possessa body.... Wereadourown imageintoallphenomena. Weexpecteverything
topossesswhat we knowto be the
conditionsof ourown well-being.
-Heinrich Wolfflin,"Prolegomenato a
Psychologyof Architecture"(1886)
When the word empathywas coined, it was regardednot as a rational thoughtprocessbut ratheras a lessprecisefeelingor emotion.41
Subsequently,Theodor Lipps redefinedthe term as the objective
enjoymentof self, contendingthat beautywas a matterof encounteringthe self in an object,while uglinesswas the resultof feeling
the self repelled.42
In suchan explanation,theoriststacitlyacknowlfound in classicism,whereinhuedge the validityof characteristics
man traitsgive shape,scale,and meaningto a specificvocabularyof
architecture.Moreover,the empatheticcorrespondenceof a building element to the body-a column to a standingperson,for exThomas
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1. Vitruvian
Man:homoad circum.
composition,
ample-is but a singleinstanceof a largerarchitectural
otherelementsof which also relateto the humanexistentialcondition. ChristianNorberg-Schulzexplainsthat each componentof a
building"formspartof a 'family'of characters,which are deliberatelyrelatedto humanqualities."Thus, "theoriginalforcesare...
'humanized,'and presentthemselvesas individualparticipantsin a
Such a directcorrespondence
comprehensive,meaningfulworld."43
is the mostessentialaspectof empathyas it relatesto the understanding of architecture.
Yet the directrepresentationof the humanform in building
is but one aspect of empathy in architecture.GeoffreyScott explained that our experienceof architectureis not merelya matter
of logicalcorrespondence.Rather,"itis experienced,consciously,as
a directand simpleintuition,which has its groundin that subconscious region where our physical memories are stored."Consequently, Scott contended,understandingarchitectureis primarily
a matterof a more subtle empathy:"We feel the value of certain
curvesand certainrelationsof pressureto resistanceby an unconscious (or usuallyunconscious)analogywith our own movements,
our own gestures,our own experiencesof weight."44
May1997 JAE50/4
260
-4
-2
600'
n77?30
2. Cedars-Sinai Comprehensive Cancer Clinic sculpture, Los Angeles. (By permission from
Morphosis, Architects.)
261
Thomas
out, is itself "not an affirming architecture."49Elsewhere in his appropriately titled ViolatedPerfection:Architectureand the Fragmentation ofthe Modern, Betsky explains that a new form of architecture
he calls "technomorphism" concerns "a strange hybrid of'building/
body/machines' . . . technomorphic tools [that] stand in for, consume, and deny both the body and the world."50Empathy, whose
significance in the identification and production of beauty was understood at the beginning of this century to entail the recognition
of the self in an object, is now at the end of the century a denial of
the body and the world-or at best a reappraisalresulting in a pathetic surrender of humanism. "This is the way the world ends /
Not with a bang but a whimper."51
Given the depiction of the human condition and the world in
much recent theory, denial of any correspondence to architecture
would indeed seem to be the best move. Woods explains that he
works in a world in which change is "violent and terrible, bringing
... the most dreadful suffering and loss ... [that] erode the ground
on which civilization and personal existence rest, leaving voids of reason." Furthermore, previous attempts to better this condition were
little more than shams:The Enlightenment idea of progressis "nothing more than a veil covering eyes that would otherwise look upon
their own madness." For Woods, "a theory that can never fail, and
at the same time can never succeed, . . . is the perfect theory of the
human condition today-a paradoxwhich is a prelude to an enigma.
Such a theory inevitably produces the twins: war and architecture."
The destructive tendencies of humanity and the creative impulse
thus unite in a new design method. Destruction is creation. War is
peace. Chillingly, Woods openly attributes his philosophy to
Doublethink, explaining that George Orwell's nightmarevision "was
nothing more nor less than a confirmation of the irreparabledamage done by modern thought to the idea of classical coherence."52
For another example of the "new empathy," consider a course
in architectural theory offered at the Architectural Association in
London by Mark Cousins. The prospectus for "Danger and Safety"
states that the course, which "give[s] the slip to attempts to organize aesthetics and ethics around the category of the subject, this
fading star of the Enlightenment," is "an attempt to link politics,
ethics and art through the axis of danger and safety." Cousins explains, "Recent art and cultural production present a fundamental
relation to danger-danger to the body, of the body ... a body in
danger, damaged, violated, invaded, eroded.... The trace of the
body is no longer idealized as the Human Form, but materialized
as visceral and fearful." In the course, "the malice of the virtues of
conscience and principle are rejected in favor of tolerance, negotiation and positions of weakness." (The "safety"in the course title is
May1997 JAE50/4
262
1985), in which Kostofexplains,"Everybuildingrepresentsa socialartifactof specific impulse,energy,and commitment.That is its meaning,and this meaningresides in its physicalform. Neither materialrealityalone nor generalbackgroundof
culturewill suffice to explainthe peculiarnatureof the building"(p. 7).
13. Benedikt,Foran Architecture
of Reality,p. 4.
14. StephenKieran,"TheArchitectureof Plenty:Theoryand Design in the
Review6 (1987): 111.
MarketingAge,"HarvardArchitecture
15. John Whiteman, "Criticism,Representationand Experiencein Contemporary Architecture: Architecture and Drawing in an Age of Criticism,"
HarvardArchitecture
Review6 (1987): 139.
16. ThomasFisher,"Editorial:
The Avant-Garde,Pastand Future,"ProgressiveArchitecture
74 (Aug. 1993): 7.
17. StanleyTigerman, Versus:An AmericanArchitect'sAlternatives(New
York:Rizzoli, 1982), p. 11.
18. I firstencounteredthis termin a reviewby David Holahanin the PhiladelphiaInquirer,Oct. 1, 1993. Holahandubbeda book that purportedto provethat
MarkTwainwasgay "tabloidhumanism."The expressionsuggestsa mutatedmeaning of humanism,one shapedby the sensibilitiesof makersof luridor sensationaltabloid headlinesratherthan by the thoughtfulconsiderationof the humancondition.
Architecture
19. See "Eisenman(and Company)Respond,"Progressive
76/
2 (Feb. 1995): 88-91.
20. JohnWhiteman,"TheParadoxof ClassicalRepresentation,"
in Jonathan
in Architecture:
EisenmanStudiosat the GSD:1983JovaMarvel,ed., Investigations
85 (Cambridge,MA: HarvardUniversityGraduateSchool of Design, 1986), p. 9.
Notes
21. This phraseis borrowedfrom the title of MarshallBerman'sAll ThatIs
1. Ralph Erskine,"DemocraticArchitecture-The Universaland Useful SolidMeltsintoAir: TheExperienceof Modernity(New York:Simon and Schuster
Art: Projectsand Reflections,"Thomas Cubitt Lecture,RoyalSocietyofArtsJour- 1982). Bermanborrowshis title from Marx'scontention that to be modern is to
be part of a universein which "allthat is solid melts into air."Bermanwrites of
nal 130 (1982): 643.
charactersas variedas Joseph Paxton, BaronHaussmann,RobertMoses, Goethe,
Architecture20/10
2. Vincent Scully, "Theoryand Delight," Progressive
and Baudelaire,all of whom "knowthe thrilland dreadof a world in which
Marx,
86.
(Oct. 1989):
3. See MarkAlden Branch,"Critique:Queasy in Columbus?"Progressive 'all that is solid melts into air"'(Penguinedition, 1988, p. 13).
22. AndreasPapadakisand KennethPowell, "Freedomand Function,"AD
Architecture(Feb. 1994) 78-81, for a discussionof Eisenman'sColumbus(Ohio)
62 (March/April1992): p. 7.
Convention Center. Also see LebbeusWoods, Warand Architecture(New York: Profile:FreeSpaceArchitecture
23. LebbeusWoods, "Heterarchyof Urban Form and Architecture,"AD
PrincetonArchitecturalPress, 1993).
62 (March/April1992): 37.
Profile:FreeSpaceArchitecture
4. See PeterEisenman,"TheEnd of the Classical,"Perspecta21 (1984).
24. Quoted in Andreas Papadakis,"On Theory and Architecture,"in
5. See CharlesJencks, TheArchitectureof theJumpingUniverse(London:
An IntellectualExtravaganza
(London:AcademyEditions
Theory+ Experimentation:
AcademyEditions, 1995).
Is a PoliticalAct (Lon- 1993), p. 8.
Architecture
6. See LebbeusWoods, Anarchitecture:
25. Daniel Libeskind,"Betweenthe Lines,"in AndreasPapadakis,Geoffrey
don: AcademyEditions 1992); and Woods, WarandArchitecture.
7. Quoted in MarkC. Taylor,"Descartes,Nietzscheand the Searchfor the Broadbent,and Maggie Toy, eds., Free Spirit in Architecture:OmnibusVolume
(London:AcademyEditions, 1992), p. 179.
Unsayable,"New YorkTimes,Feb. 1, 1987: sec. 7, p. 3.
26. AlexanderKaun,SovietPoetsand Poetry(Berkeley:Universityof Cali8. SeeJuhaniPallasmaa,"SixThemes for the Next Millennium,"ArchitecforniaPress, 1943), p. 69.
turalReview(July 1994): 74-79.
27. Norman Cohn, The Pursuit of the Millennium (New York: Oxford
The
9. CharlesJencks,"TheNew Moderns,"AD Profile:New Architecture:
UniversityPress,1961), p. 21.
New Modernsand the SuperModerns60/3-4 (1990): 15.
28. Ibid., p. 148.
10. The phrase"the bite and sweet gravityof things realand beautiful"is
29. See E.M. Farrelly,"'TheNew Spirit' (Post-modernismIs Dead),"Arfrom MichaelBenedikt'sForan Architecture
of Reality (New York:Lumen, 1987),
chitecturalReview180 (Aug. 1986): 6-12, for an earlydiscussionof a trend that
p. 22, which incorporatedSusanSontag'sterm "biteand sweet gravity."
11. Maugham'sremarkis made by the fictionalnarratorof TheMoonand would pick up speed.
30. Quoted in Peter Collins, ChangingIdeals in ModernArchitecture
Sixpence[1919] (New YorkModern Library,n.d.), p. 80. It is in the context of
praisingthe fierce and completelyindependentactions of Strickland,the novel's (Montreal:McGill-Queen'sUniversityPress, 1975), p. 276.
31. PaulScheerbart,Glasarchitektur
(Berlin:VerlagderSturm,1914), p. 25.
centralcharacter,a Paul Gauguincounterpart.
A StudentGuide(London:Acad32. GeoffreyBroadbent,Deconstruction:
12. This view is championedin the worksof Spiro Kostof, particularlyA
Editions,
1991).
emy
Architecture:
and
Rituals
York:
Oxford
Press,
(New
University
Historyof
Settings
of building is no more than a politically correct smoke screen. Perverting so essential an architecturalcharacteristicas empathy will not
usher in a new egalitarian world any more than did previous naive
Modernist political-architectural formulas. Theory that celebrates
the visceral and fearful, that finds malice in conscience and principle,
that activates an architecture for losers, is indeed a departure from
what we have known and hoped building to be.
It is a telling indication of the nature of much recent theory
that architects outside elite Western intellectual circles, those most
directly concerned with the true "marginalized"who are the Third
World, seem to have little time for nihilistic posturing. In many
cases, the intellectual attachment to the marginalized individual is
no more than an expedient measure that dovetails with today's fashion in academia and visual aesthetics. Within consumption-driven
Western society, claims that recent avant-garde architectural theory
embodies the essential societal characteristics of our age are at best
culturally naive or presumptuous, at worst self-delusion or deceit.
263
Thomas
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