Name: Aman Tair

Roll no: 2017-nca-arch-343

Dept: Architecture

Subject: History/ 4th year

1. State the difference between Theosophy and Anthroposophy in their
philosophy and approach to architecture using appropriate examples.
Although standing in stark contrast, both Theosophy and Anthroposophy stems from similar principles
of metaphysical relativity and abstractive vantages. They emerge as a reaction from WW1 as an Avant
Garde philosophy; a spiritual incentive, bordering both as a social and cultural reform.

The former Dutch, school of thought interprets its ideals based on the Divine Wisdom, an extrospective
inclination to understand the organizing logistics of nature. They evaluate various phases of life,
redefining aesthetics, reflecting matter’s mind and its defining superficies; subsequently attempting to
meditate upon the Universe at large.

Aligned parallel to Theosophy, Picasso’s Synthetic Cubism pioneered artists like Van Doesburg, Gerrit
Rietveld and Piet Mondrian who acted as eminent protagonists, contributing in its formative years;
subsequently giving birth to De- Stijl. Nature was reduced into its basic geometry of linear progressions
which paved way for an inside-out design approach of form and space. Erecting upon prescribed beliefs,
spatial paradigms were challenged through rectilinear compositions of floating facades and Raumplan
layouts. An array of spaces was possible by re-arranging partitions and furniture. The dynamism of time
sequences was reflected through visual chaos of overlapping planes and asymmetrical tectonics. Rhythm
was ploughed through balance and proportion. Hence, such experimental visuals personified the
Theosophist’s belief; an evident collage of hierarchical units forming a holistic entity where each factor is
significant in the entire equation.

An example, Hides among birch groves of Los Angeles where the iconic house of Charles and Ray Eames
stands. This residential complex is categorized into a modernist structure but undeniably echoes the
traits of De- Stijl. Formal geometric aspects serve as a basis for this structure. Individual spaces are
allocated along both units and at consecutive floors. The platonic forms are manipulated into a
rectilinear growth. Partition walls blur the distinction between spatial sequences. Atriums and
mezzanines underline transparency and porosity in the key plan; facades are a balanced juxtaposition of
planar elements against mullioned windows. Conventional walls are replaced by shear glass panels; this
blends the demarcation between interior and exterior spaces. By breaking apart the conventional
formation, light filters through the gridded fenestrations. Similar to Gothic architecture, Eames
exemplify the role of light in an allegory of God’s reflection, abiding by Theosophy in its own right.

Meanwhile, Anthroposophy accords toward a spiritual tangent by crediting Man’s Wisdom through an
introspective ideology. The works of Van Goethe and Friedrich Nietzsche inspired the Swiss Rudolph
Steiner to delve into the many facets of the human mind. Revolving around meditation, contemplation
and fasting, the Goetheanum acted as a philosophical center. Their outlook portrayed man as a sole
responsive being. Resultantly, their approach beaconed as a contrast to the Theosophists; design
processes involved a subtractive method, consisting of sculptural forms, curvilinear geometry and
monolithic masses. Spatial schemes weren’t pre-conceived and designed inwardly, following an intuitive
response. Therefore, their tectonic vocabulary was regarded veristic and held a surreal ambience.
Robert Bruno’s weathered marvel, peeking atop the Ransom canyon, pays homage to Steiner’s vision.
Although conceived in the late 70s, his curated masterpiece still follows the Anthroposophical Doctrine.
Scraping numerous parts to consist a whole, Bruno instilled his cognitive thoughts into factual reality.
Intersecting planes coincide at peculiar angles to nestle internal voids, their organic shape shoots from
the ground and twines amid air to construct a radical landmark. From inside, apertures speculate
towards different viewpoints. Pronounced curves blend the walls along floors, echoing a cocooned
structure. Undoubtedly, this steel mass delivers the latter philosophy; collaged matter, composed to
hold significant spaces like the body, skinned through various layers to house an individual’s soul.

3. Is Gerrit Rietveld’s designed house a good option for today’s living?

Along with numerous social reactions, De Stijl appeared as part of the Modern arts movement, and
Gerrit Rietveld’s work highlights his contribution as an important figure. His Schroder House overlooks
Utrecht’s conventional neighborhood, contrasting its appeal to passersby. But this radical entity sure
provokes various questions, when compared with contemporary residential units.

Architecture today is debated over current issues of Climate change and Public engagement. From high
rises to low-income residential units; this discipline has distanced from manifestoes to address the local
stakeholder. Hence, Schroder’s aesthetical statement lays irrelevant to recent minds, although its
internal character can’t be ignored.

Synchronizing to Adolf Loos’ Rumplan Theory, the house has inevitably aspired modernists as a solution
to claustrophobic layouts. Towering tags and high taxes has forced a majority to adapt in small
apartments. Minimal planes and free-flowing spaces provide a feasible solution while enhancing spatial
ambience through quality light; consequently, allowing inhabitants to appropriate in considerable
dimensions. But such advantages pertain to specific locations. Areas with mild climate and suitable
weather patterns can allude to such layouts. They pronounce passive lightning, are versatile to cross-
programming and flexible to user influx. Humid regions can benefit from proper ventilation and Alpine
areas could optimize thermal comfort through sunlight hours. But as one moves towards arid sites,
singular strategies can’t account for an innovative design. Hence, a plug-in approach won’t suffice as
architecture has to generate a site-responsive program.

For instance, the scorching dunes of Thar, Sindh celebrate the vernacular for a reason. Its archaic form
isn’t a romantic notion to ancient civilizations but an ingenious reply to the surrounding environment.
Factors of Sustainability, ecological makeup and economic sources have to be questioned. Spatial
exposure will generate over-heating. Cultural ideologies will detest ideas of penetrative spaces and
natural materials like mud and straw won’t assemble such tectonics. These desolate settlements reside
at the fringe of societies and are foreign with such schemes. As for Urban centers like Lahore where
contemporary houses are being made parallel to the Schroder House, expensive units are installed for
kitchen ventilators, additive screens are drawn to minimize heat gain and costly maintenance is required
for the upkeep of large glass panels. Although such residences do encompass a contemporary visual, but
it surely comes with a hefty price tag. Therefore one shouldn’t undermine Schroder House’s credibility
but understand where its inherent abilities lie and where it will domineer the vernacular traditions.
2. In reference to the Constructivists, which group would you support, the
Formalists or the pragmatists? Give reasons and build your argument.
Evaluating the varied response of both groups, my approach gravitates in another perspective.

While Architecture has been contested as either a subjective reaction or a pragmatic solution, the
contemporary architect shouldn’t label one’s approach in a rigid manner. Acting accordingly, a person is
able to discover and experiment a multitude of tessellations involved in this discipline. As singular
ideologies can’t be practiced over an array of landscape, the grey areas should determine how the
design process should evolve. They may include a hierarchy of phases, prioritizing either formal or
pragmatic aspects according to the nature of a project. This ideology isn’t haphazard but has shaped
from the ongoing scenarios.

Viewing the historical background of Constructivism, one should regard its context of space and time.
Because of Russian Industrialization and Revolution against the imperial family, the former movement
was an upheaval from the peasantry and working class. Their voice was channeled through the visuals of
the Constructivists. Agendas and mottos, formed during this period held political and social significance.

In contemporary times, factors are informed by different contexts and vary on relative scales. We are no
longer tortured by anarchic rulers but corrupt politicians. A formalist or pragmatist’s approach doesn’t
even matter, people now life in poverty and inflation. Revolutions are replaced by burning topics like
sustainability, ecological impacts and economical feasibilities. Therefore instead of doodling utopian
ideas or erecting monumental structures, a designer is expected to contribute to the aforementioned
topics and figure out ingenious methods for communal betterment. Such issues demand a pragmatic
logic as they contribute to a larger picture. But this doesn’t limit a Formalist’s viewpoint. Formal aspects
may be interlocked in Memorials, Cultural centers, communal and public areas, but pragmatic utilities
can’t be ignored in healthcare units, educational units and urban projects etc. Alternative sequences are
sure to exist as typologies induce their own governing principles.

Architects such as Frank Gehry or Zaha Hadid drew heavy inspiration from the Constructivists and are
inevitably classified as Formalists. But their signature styles are curated for purposes of branding.
Subsequently, their structures are seen as divorced and alienated to their context. They may utilize
spaces through pragmatic data, but as seen from a wider angle, such works are anything but
unresponsive subjective statements. Many don’t address environmental concerns or are turned away
from public engagement. Such examples are still fixated in the constructivist’s mould and should be
reviewed beyond external images. To deviate from former outcomes I highly regard the design process
as an imperative category which scaffolds the entire projects. It may initiate from a Formalists
conception of deriving philosophical ideas, extracting ingenious elements and creating corresponding
forms. But since change is the essence of an ultimate life form, this process should be viewed as such;
pragmatics should not be seen as an induced toxin to a formalist’s palette but rather a catalyst to
enhance an abstractive thought. As long as their synergetic value considers and responds to the
contextual framework, Architectural progression is sure to exist without being type-casted as a Formalist
or a Pragmatist.
4. Are un-built examples of experimental architecture such as Tatlin’s tower holds
any significance? Argue using more of such examples.
Throughout architectural history, inter- disciplinary aspirations have drawn astonishing feats and raised
eyebrows with creative ingenuity. Such derivatives can only be realized by meticulous retrospection and
consideration of both built and hypothetical proposals. The Cubists, Modernists or Constructivists were
schools of pronounced expression. Their ideologies gave birth to radical opinions, contrasting dialogues,
and Monumental appetites. Their validation surpasses time and eras, staging as a backdrop for the
contemporary candidate.

Although derogated as Paper Architects, these figures can’t be demarcated as outlandish props as they
zoned out visions beyond human perception. Preceding movements like Post Modernism or De-
Constructivism trail along former ideologies, morphing societal conventions into an Avant Garde reform.
Their un-built ideations sprawl a manifestation of the human mind; its conceivable imagery and
abstractive realities, broadening virtual horizons, the Constructivists or related radicals have levitated
the cognitive domains by eliminating any restriction between force and fiction.

Wright’s colossal proposal for the Gordon Strong Automobile objective was downright rejected. Its
formation was conceived hypothetical and infeasible. But his parallel explorations regarding form
vocabulary and spatial sequences, finally culminated into the Solomon R. Guggenheim.

The Ultima Tower, envisioned by Eugene Tsui blueprinted ideas for silhouetting towers of Jeddah and
Burj Khalifa. Their profiles resemble the gradual summation of monumentality into a culminating spire.
Such engineering chapters are a factual mass of a hypothetical mind.

Paolo Soleri’s partially conceived vision of Arcosanti for the remote terrain of Arizona is an account of
unfathomable ingenuity. His gigantic extractions teleports one in a Futuristic realm, the weaving
character of spatial layout, imbedded DNA of the entire complex and incremental growth scripts out as a
prototype for Urban Designers. Soleri’s keen response towards social engagement and self-resilience,
heralds even in its formative erection. Arcology, communal enhancement and social interaction form
the basis for Arcosanti. Many incremental settlements were addressed along Arcosanti’s pattern
adapting to economic and environmental concerns.

In pre-liminary design phases, one’s outlook should penetrate beyond laws of gravity and utilitarianism.
Similar Un-built works act as a library for an innovative breakthrough; they attempt on revolving around
initial thoughts and maneuver the project through a systematic flowchart. Formal layers can be realized
through Malevich or Tatlin’s principles, interjected with allied pragmatics and contextual responses.

Hence, these archival manuscripts hold more importance than a built reality. Their position in
understanding architectural history is imperative to decipher a rational entity, appeasing both subjective
viewpoints and projecting toward objective gradients.
5. How has the theory and philosophy of Le Corbusier influenced the modern
architecture of Pakistan? Explain with examples.
Struggling through decades of cultural identification, architectural practice in Pakistan has undergone a
paradigm shift; oscillating around the modernist philosophies of the 20 th century. Aesthetic conventions
have transitioned invariably. The colonial typology of bungalow is redirected from former elements of
sloped roofs, balustrade parapets, vertical windows and static sequences towards a new vantage.

Accordingly, Le Corbusier’s work lime-light as an abiding doctrine. His preference over orthogonality
integrates line as an essential element; therefore his forms are a mathematical composition of
perpendiculars and linear formations. The five points for a New Architecture embodies as a timeless
example. The master incorporates concepts of levitation, free plan layouts, independent facades,
horizontal windows and roof garden.

Rashid Rashid’s design for a vacation home in DHA phase 5 can be attributed to Le Corbusier’s ideology.
His composition of adjacent volumetric masses interlocks a centralized space. Their planar formality and
perpendicular angles are reminiscent to Villa Savoye. Lines are recognized as elements of integration.
The pool house juts over the water feature beneath, creating an essence of visual levitation. Floor plans
are flowed into both units through a liminal garden bleeding from one mass into the other. This area is
bordered by glass facades blurring an internal-external context, freeing the façade from structural
rigidity. Hence linear windows lay as orchestrating features to frame the adjoining scene. Lastly, a roof
garden carpets over the residential unit, enhancing thermal comfort while returning the occupied space.
This conception has been in vogue for the majority of commissions in the residential sector of Pakistan.

Habib Fida Ali’s portfolio is an ode to the master. His famous Siemens Head office in Karachi stands to
reveal the material’s austerity. Its cantilevered foyer, stripped glazes of windows and adjoining volumes
induce an air from the league of nation. An emphasis on linear elements is seen through intruding and
protruding cuboid volumes. In Lahore, the towering building of State bank bears close resemblance to
the Fondation Le Corbusier with its louvered façade, gridded fascia and monumentality. A majority of
educational and institutional footprints are based on similar regularity of perpendicular angles.

Modern Architecture in Pakistan does seem to be aspired by the modernist’s philosophies but lacks in its
execution. Corbusier may have claimed his theory Universal, and his style International; but it may not
complement objective realities.

Firms in Pakistan are numbed with his rectilinear geometries and systematized layouts, but his
philosophy is not followed by the word. Such modifications are distinguished by social, cultural and
economic factors. An elitist living in the Suburbs of Lahore may have the advantage of patronizing the
modernist’s idea but it won’t suffice to a working class’ wallet. Hence we see expensive areas of DHA,
Bahria or Cantt parading in Corbusier’s footsteps, while less privileged settlements brew half-cooked
principles resulting in hybrid forms.