Architectural Language (Changing Vocabulary and grammar) (Page 2)

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During the classical period, art and architecture Were interdependent in their expression which had its own effect on society. Both art and architecture possessed the Capacity to elevate taste and morals.

The fact that sucha cubistic architecture is emotionally invalid can be found in the common disregard of such buildings by the people who have to live in and around them, the only satisfaction belongs to the architect, and it is a purely intellectual one. Glass box architecture, so much in vogue around the world these days, is just a neutral architecture, and people are not even aware of it emotionally. This is truly an appalling state of affairs, and amounts to an environment bereft of any humanising meaning.

At a purely existential level, the only possible answer for this neutral architecture to be given emotional meaning is by inclusion of valid works of art. It is not the adding of a sculpture here and painting there that is suggested. At the conceptual stage, the architect should be able to envisage the artist's contribution. The architect, while providing the spaces pragmatically, would still require wisdom, sensitivity, education and culture to be able to see beyond the spaces and integrate an entire Cultural sensibility into the environment. That there are some socially conscious architects today who strive to do just this is most encouraging, but the architectural bigot also abounds and tends to settle in the intellectual position of power which has more influence than it merits.

Twentieth century architecture, as a result of its technology Contents, has been mainly about functionalism, rationalism, standardisation and economy - all the things that make life oppressive and tedious. Those elements consistent with art and culture, such as ambiguity, inversion, humour, sensuality and ritual - all the ingredients that make life interesting, appear to be missing. Emphasis is increasingly on technical and mechanical equipment. Circularities, webbings, flutings which can now be made easily by pressing and moulds, especially with new materials such as plastics, vaultings and crisscrossings of structure, could provide an enormous symbolic Wealth and a measure of visual ambiguity essential if the impact is to be valid and contemporary.

(Continues...)

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