By Torsten Schmiedeknecht, Andrew Peckham, Charles Rattray
Glossy eu structure has been characterized by means of a powerful undercurrent of rationalist concept. Rationalist strains goals to ascertain this legacy through setting up a cross-section of up to date eu structure, put in chosen nationwide contexts through critics together with ?kos Morav?nszky and Josep Maria Montaner. next interviews speak about the theoretical contributions of Giorgio Grassi and OM Ungers, and a survey of Max Dudler and De Architekten Cie.'s paintings units out a consistency at one eliminate from avant-garde spectacle or daily expediency. In Germany Rationalism bargains a thought of illustration of country associations, whereas in different places notable paintings unearths assorted methods to rationality in structure usually recalling canonical Modernism or the 'Rational structure' of the later postwar interval. even if obvious in styles of considering, a specific formal repertoire, a triumphing consistency or exemplified in person structures, this courting informs the mature paintings of Patrick Berger, Claus en Kaan Architecten, Carlos Ferrater, Cino Zucchi or Hans Kollhoff. The constructions and tasks of a more youthful iteration - Javier Garc?a Solera, GWJ Architekten AG, biq, Andrea Bassi or Beniamino Servino - current a Rationalism much less conditioned by way of a priority to advertise a unifying aesthetic. whereas usually sharing a planned economic system of capacity, or a sensual sobriety, they current a extra indirect or distanced courting with the defining paintings of the 20 th century.
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Additional resources for Rationalist Traces (Architectural Design September October 2007, Vol. 77, No. 5)
Example text
Behrens’ work distinctly influenced two young architects who were working in his office during this dynamic period of change: Ludwig Mies van der Rohe and Walter Gropius. While Mies initially continued to follow the Neoclassical tradition, for example in the famous design for the Villa Kröller-Müller (1912/13), it was Gropius who had already in 1911 set a new benchmark with the Fagus Factory in Alfeld. This plain edifice not only showed the flexible combination of a skeleton frame structure with glazed curtain walls, but also emphasised an Karl Friedrich Schinkel, Altes Museum, Berlin, 1830 Schinkel’s masterpiece, strongly appreciated by Mies van der Rohe, was the perfect venue for the exhibition ‘Mies in Berlin’ in 2001/02.
The origin of the design revealed a strictly Rationalist approach towards a form of comprehensive objectivity. Indeed the building may be interpreted as the modern equivalent of Schinkel’s Altes Museum – a building one ‘could learn everything in architecture from’ Mies claimed in a 1959 BBC radio interview. Yet, the critics of this conception of Rationalist architecture became increasingly vocal. In fact, the countless gridded facades that shaped the face of German cities in the postwar period were one legacy of Rationalist architecture.
A similar approach characterised Analoge Architektur; the work tried to find a way out of narrow-minded empiric research and into the everyday, the realm of popular art forms such as comic strips and storyboards. It was a development similar to the ideas of the Independent Group and the Smithsons in London in the 1950s. The introduction of Venturi to Switzerland (with Stanislaus von Moos and Steinmann acting as the main protagonists) might suggest that there was a similar interest in the character of the lowermiddle-class and workers’ districts among the ‘analogous’ architects – which might appear as surprising, given the generally muted reaction to American-style Postmodernism in Switzerland.