Architecture is art, and in art lies its completeness. In Central Saint Martins College of Art and Design, designed by Stanton Williams Architects, the two disciplines work one in function to the other. The building is like a Rubik’s cube in which all faces have the same colour: the solutions are endless and they all work.
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La Tourette. In Search Of The Ineffable
20 January 2018
words: Natalie Donat-Cattin
photos: Jian Yong Khoo
“La Tourette is in-situ cast concrete, and it reads as a singular structure in spite of its volumetric and formal complexities and apparently tectonic language. The monastery is suspended between earth and sky; it echoes the dark depths and gravity of the earth while reaching towards the sky, hovering weightlessly on its dense system of piloti. This building merges the opposing human dreams of flying and being buried in the earth. Le Corbusier’s floating man-made cliff feeds light into its very bowels, evoking an animistic sense of breathing. As Constantin Brancusi, the master sculptor, exclaims: art must give suddenly, all at once, the shock of life, the sensation of breathing” – Juhani Pallasmaa
The reading of the building originates from this antithesis: man’s primitive will of flying versus his fear and, at same instant, urge of contact with the earth. It is a journey towards the mystic, tied to the personal growth of Le Corbusier as an architect and even more as an artist. He is an acrobat poised on the wire of his time, in search of what he defines the “ineffable space” – an architectural fourth dimension, synonymous to relativity according to Einstein’s space-time theory. This historical fact, together with the discovery of speed – a consequence of the invention of the automobile – morphs man’s perception of the world: no longer two-dimensional, but total in its asymmetry.
La Tourette must be experienced within this dynamic vision. It is a voyage towards the underworld, imagined as a concrete prison set in the bowels of the earth. Light assists us down the whole way, to whose end a mystical darkness awaits us. It is not only a promenade architectural but also an ambivalent, introspective journey. We reflect on ourselves and on the religious choice: the suffering path of life’s learning goes hand in hand with the renunciation’s vow of the monks.
The end of the descent culminates with the church: a heavy, single, parallelepiped block resting on the ground. Here, the only window is hidden. The light is intangible, distant, unreachable, experienced only in its projection on the wall. In this ineffable space we feel bare, brute like the walls of the church.
“I wish to conserve […] the extremely rough aspect of the church’s walls. There is here a success in the spiritual domaine, […] that must not be destroyed for any reason. […] Keep intact what is worthy by the circumstance, meaning the absence of pomp and the presence of something primordial”, says Le Corbusier, with regards to the concrete treatment in this space.
In this modern “gothic” cathedral, we are like ants begging to the superhuman; thighs of our faults and exposed in all of our humanity. Ready to be sacrificed on the altar.
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The Ara Pacis was and is an altar to the greatness of Rome, an altar of ideals and hopes. Forgotten but rediscovered. Rebuilt but eradicated. Idolised but caged. Now it sits imprisoned behind white bars, while the citizens invoke freedom for it. Criticism resonates from every part of the capital, loud and clear not unlike most Italians.
Parrish Art Museum, designed by Herzog & de Meuron sits in isolation among the meadows – its crisp simple form stands in contrast to the surrounding natural landscape.
Teshima Art Museum by Ryue Nishizawa, an enigmatic structure which rests at the top of the hill to the adjacent rice terraces – nature, art and architecture coalesce to create an ethereal experience.
When the Milanese gallerist Massimo De Carlo gets taped on the wall and morphs into the artwork… are we human or are we art?