Architecture Depends by Jeremy Till

By Jeremy Till

Polemics and reflections on easy methods to bridge the space among what structure really is and what architects wish it to be.

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These drawings were famous throughout the architectural world. And then they were built. Like many architects and students, we traveled to Italy to see the cemetery at Modena and the housing at Gallaratese. We tried to find the building that we had seen in the drawings, waiting for people to go, for the sun to set low in order to catch those shadows in the empty arcades. And the more we waited, the more hopeless the task became. The drawing as autonomous object was not there, architecture was. So when some years later I read Solà-Morales, I felt consoled that we were not alone in our failed quest.

12 In the rush of words, we overlook the o=ensiveness of the association of visual purity with social morality. The three terms beauty, cleanliness, and order form a triangle; in fact a Bermuda triangle that eliminates anything that might threaten its formal (and social) perfection. Thus alien objects, dirt, the low, the supposed immoral, are cast aside in the pursuit of purity. If we return to the Vitruvian metaphor of the body, then it is clear that the triangle will tolerate only the classical body.

45 Well, he has accomplished this in his head. Once he turns his back, as we shall see, things begin to unravel. It is important, however, not to see Bacon and Le Corbusier as fringe figures waging lonely wars against disorder. They are part of a much broader trend. If the will to order is an identifying feature of the modern project, then the means to that end lies in the elimination of the other of order; it lies in the ridding of contingency. ” The reason is simple: one does not have the need for order unless one has experienced disorder: “one does A Semblance of Order 37 not conceive of regularity unless one is bu=eted by the unexpected.

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