Is informal architecture similar or equal to
spontaneous or natural way of development in architecture or construction ? why
?
Pratik
Rajeev Taishete | 4061282
Informal architecture is a vast
topic. But this vast topic must start with the basic understanding of the words
which are used to explain the term or question it. Which certainly raises a
question to know the meaning of the word - informal itself. Although formal and
informal are daily used adjectives but, are still too far from what one would call
,'clear' in terms of their meaning. These adjectives which do not have
guidelines of their own when used with architecture magnifies the intensity of
the confusion . Also the adjectives that describes 'informal architecture' are
not self explanatory . Explanation of the adjectives in architectural context could
give a strong base, and one could draw guidelines which could help us
distinguish between formal and informal architecture. These terms and
terminologies are not always universal. The response to these terms generally
depends on the past experience of a individual in any particular region. Hence
the term 'informal architecture' has a lot to do with the experience that an
individual had and the guidelines he has set to conceder any given particular
thing as informal form of architecture. Which very often rises questions such
as, Is informal architecture similar or equal to spontaneous architecture ? or similar
or equal to natural way of development
in architecture or construction?
The dictionary
meaning of the words like 'similar' (Having a resemblance in appearance
character , or quality, without being identical) and 'equal' (Like or alike in
quantity , degree , value, etc. Of the same rank ability, merit ,etc.) more or
less mean the same even in architectural context. But terms like spontaneous
architecture with dictionary meaning of spontaneous - Performed or occurring as
a result of a sudden impulse or inclination and without premeditation or
external stimulus( it specifies it has more to do with the reaction to action.)
does not match in the architectural context as architecture may it be formal or
informal is premeditation or has some motive.
For Luig Epifanio (an
architect in the Mediterranean region 1949 -1970)the external stone
walls, the saddle roof of bent tiles, the use of wooden frames and fixtures,
various details that re-evoke the rural world, are all ingredients of
spontaneous architecture. Similarly many other architects like the Milanese
architect Giancarlo De Carlo employed the phrase Architettura spontanea
(spontaneous architecture) in the 1951 Milan Triennale exhibition he curetted
with Franco Albini and Giuseppe Samona to describe extant vernacular buildings
and environments, featured in the exhibition.(fig.1.1 a) De Carlo's term
'spontaneous architecture ' was the most widely circulated on account of the exhibition
and echoed the content. Science 50s until 1951 the rural structures were
considered as spontaneous architecture and the materials used in them were
considered as the key elements.
In 1954 the serial
designs of the duplex houses of La Martella suggested the fusion of the
'spontaneous' preindustrial. Bringing the term from the rural structures to the
post war cities. Structures like 'dammuso'
and 'Trullo'(fig.1.1) of
Italy were still concidered as examples of spontaneous bioclimatic
architecture. Both buildings feature very thick walls and minimal openings,
allwing for a comfortable microclimate inside hence the term bioclimatic.
Dammuso, the typical dwelling of the island of Pantelleria , represents an
example of spontaneous architecture of bio-climatic inspiration.
Fig.1.1 - Trullo(a) and
Dammuso
The only reason of using this term as stated by Bernard Rudofsky
"the unfamiliarity with the nonpedigree
architecture which rose the
question of a term to specify it. Hence the words like vernacular anonymous,
spontaneous, indigenous, rural, as the case may be, are used to describe it
." explaining that it had nothing to do with the reaction to a action. He
also defines ' spontaneous
architecture ' a silent testimony of ways of life that has its roots in human
experience. Which explains, a pre-thought
or an experience in the past which has made its place in the subconcious
mind of an individual , shows up when the opportunity strikes makes it
spontaneous in the architectural context, and also explains the term
spontaneous architecture. Franco Albini an Italian Neo-Rationalist
architect and designer coined the term architectura spontanea (spontaneous
architecture) and explained that spontaneous architecture developed from the
cultural , economic, social, and natural environment and not due to external influences. which
explains the situation that gives an individual an experience to keep in his
subconscious mind. But region also plays an important role when it comes to
explaining terms, as the experiences of an individual in Europe might be
completely different of the individual in America or may be India. as the
factors given above vary from region to region. And as the guidelines changed
the outcome also changed, which can be noticeably seen that different societies
consider different structures as informal. This also shows the different
perspective of the individuals in different regions towards spontaneous
architecture. On the other side of the world American architects during
1960-80s considered spontaneous architecture as a 'free and virtuous'
primitivism ;to evoke the 'serenity of the constructions is a tribute to the
Noble savage and also conceders a story of the problems of survivals of the
power relations within implacably hierarchic societies, of civilisations where
the individual is weak and termed it as an architecture of censorship where
innovations is proscribed considering danger for the common good. Until today
when the true 'spontaneous'
architecture is that of the barriadas and favelas of the slums. which in a way
says that spontaneous architecture in general, as a result of an
instinctive adaptation to environmental and functional necessities, as a
characteristic to be considered together with Rationalism as a national
alternative to the import of foreign forms.
One of the terms
which was used to describe informal architecture was also 'natural
architecture' which also shows the variations due to the various aspects like
cultural , economic, social, and natural environment and also is understood in
various ways in various regions. American architects in 1939 considered organic
architecture as natural architecture. With an explanation that organic
architecture means more or less organic society. Organic ideals of integral
building reject rules imposed by exterior aestheticism or mere taste, and so
would the people to whom such architecture would belong reject such external
impositions upon life as were not in accord with the nature and character of
the man who had found his work and the place where he could be happy and useful
because of it in some scheme of livelihood fair to him. And the statement that Modern
architecture - ,let us now say organic architecture -is a natural architecture
- the architecture of nature, for nature.
In 1961 Frank
Lloyd Wright modified this theory by
stating that organic architecture
or natural architecture is capable of
infinite variety in concept and form but faithful always to principle. It is -
in fact and indeed - itself principle. A natural architecture true to the
nature of the problem, to the nature of the site , of the materials and of
those for whom it is built - in short , of the time and place and man .
Building of these, not applied or imposed on them . Neither a mere facade nor a
glass poster, set up or ' put over' , regardless of manor the elements in which
he must live and built regardless of the basic principles which are the blood and the sinews of architecture organic.
The recent architects like
Alfredo Brillembourg describes informality as do it yourself type of urbanism
or urban mutation in a different patterns. Nature's pattern of development in
architecture hence the term Natural architecture. Then, would self-built
settlements be a better term than informality? What exactly is informal
about these settlements? The three-tiered definition to the ambiguous term 'Informal' is First, it incorporates the notion of
the casual; second, it refers to the condition of lacking precise form; and
finally, it relates to the realm outside what is prescribed. Informality is not
an exclusive phenomenon of the twentieth century (nor of underdeveloped
countries, for that matter); there has been ex-urbis housing, “outside” the
legal, planning and professional realms of city making, for centuries. What is
remarkable is that informality became the dominant mode of city making in the
twentieth century. The high point of informal urbanization was probably during
the late ’60s and early ’70s, when large demographic growth, high migration, an
economic boom and misguided urban and housing policies formed a scenario in
which housing provision and land appropriation could not take place through
traditional means. This meant that over half of all urban housing stock had to
be provided through non-traditional channels such as squats, illegal land
subdivisions, land invasions and other schemes of appropriation. And as far as
natural architecture is concerned. An architect can design a space – a cave.
However, an architect cannot design a nest. The first example provides us with
the cave and the nest. The cave is a pre-existing space which one can inhabit
or appropriate (much like the ruin), whilst the nest is a personalized
creation. Although a nest can be planned, every nest will be completely
individual – no two nests will ever be alike. It is evident that although there
is a distinction between the cave and nest; the city and the house; the forest
and the tree – there is no defined difference or limitation. There is an instantly
recognisable gradation between the two parameters, and an infinite infill of
variations between them. The boundary between the interior and exterior – the
in and out – is non-existent. one can be perceived as the other and vice-versa.
Natural architecture was either made with local material blending into a
particular natural environment , or it served to heighten the engagement with
nature and the elemental qualities of a site through the formal intentions of
its design. Natural architecture was often described as 'home grown ', but now
went far beyond that simple vision to include work such as those of Herb Greene,
Malcom Wells , Glenn Murcutt , Fay Jones and Thomas Herzog. Biometrics,
landscape urbanism , landform architecture , and land art all found inspiration
from nature and there are embodied principles applicable on all scales for the
greening of architecture. Enhancing the relationship between inside and outside
was considered a function of natural architecture. But architecture , like
music , has no natural language , and is only degraded when it attempts to
speak an artificial one by means of
conventional signs.
I have quoted this at length , as containing, I believe, a proximate
principle of great importance to be constantly borne in mind by everyone who
aims at distinct expression in the art of form and especially architecture,
because this art does not consist, like the others, in the imitation of natural
forms , but only of natural principles.
Very different is
the model and kind of imitation set before us by that enlightened critic M.
Quatremere de Quincy, who observes,* that architecture should imitate nature
itself in the broadest sense, and not any particular natural object, - should
imitate not as a painter does his model, but as a pupil does his master, - not
by copying what nature presents, but by doing as nature does.
No natural flower is fit or beautiful in decoration ; if it were , it
would not be fit or beautiful in nature. The notion , at present very common ,
that natural (i.e. particular) flowers should be imitated in decoration , is
more false and unnatural. No one thing in nature is natural enough for
decorative use. This art, like architecture, must generalize,- must copy not a natural
form , but a natural idea. Its flowers are as false, when copied from single
natural models, as columns would be if copied from a single natural limb.
We could conclude that both natural and
spontaneous architecture are adjectives of informal architecture .The
pre-thoughts and the experiences in the subconscious minds of individuals
resulting in a peculiar style of architecture, described as spontaneous
architecture. The cultural , economic , social and natural circumstances play the role of the factors that changes
this kind of architectural style. But location also plays an important
role. As human behaviour in different societies living in different parts of
the world are different. Change in these guidelines changes the architecture
too. It could also be termed as architecture of censorship, due to the weakness
of the individuals. Its organic architecture can be stated as natural
architecture but it is not a
natural form , but a natural idea of constant struggle of existence. Yes one can say that informal
architecture is equal or similar to spontaneous architecture and natural architecture , as the individuals
in the rural regions who constructed the structures which are examples as
spontaneous architecture by using ideas from nature, by considering the site ,
nature of the materials available.etc. were the same individuals which shifted
to the urban settlements in the search of jobs ,and made their own shelter
using the same skills they used to make the spontaneous architectural marvels
but this time the available materials changed and also the piece of land and
these structures are the dwellings in the slums which we consider as one of the
examples of informal architecture. But this explains only one aspect of
informal architecture.
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