HISTORY OF ARCHITECTURE

VIEWS ON SIMPICITY AND COMPLEXITY

WRITING ASSIGNMENT

SAMIKSHA SHAH

4CM21AT046

ANALYSIS

MARCEL BREUER-

“My readers will know, for instance, that these buildings are conceived of in severe terms – a maximum
simplicity.”

Breuer says that the New Architecture emphasizes simplicity, ample natural light, ventilation, balconies,
flat roofs, practical floor-plans, mechanization, industrial production methods, standardization, light
colours, and the incorporation of new materials.

“Architecture is an alarmingly many-sided complex.”

He speaks of the Modernist Movement to have not been understood in its wholeness but only in
problematic parts, reduced to snappy slogans and quick fixes. The understanding of it as a unifying
whole is still lacking.

He speaks for the objectivity of New Architecture, that is unmoved by tradition and prejudices. But at
the same time, he talks about the love of Modernists for traditional art.

“…the attempt to build in a national tradition or an old-world style would be inadequate and
insincere.”

While the appreciation of traditional art and its unpretentious nature is something that he applauds, he
finds it a bad symptom to stick to what has been done as an excuse for what is to be.

As paradoxical as it may be, he draws parallels between the goals of New Architecture and Traditional
art: “the impersonal character of their forms: and a tendency to develop along typical, rational lines
that are unaffected by passing fashions.”

Both Vernacular art and modernism gain similarity in what they aim to achieve: they seek what is
typical. But modernists, instead of family traditions and the force of habit, employ scientific principles
and logical analysis.

“We seek what is definite and real, whether old or new.”

From modernists, there is this sad expectation to be new all the time because that is what commoners
believe to be modern. But he argues that “new is simply a means to an end, not the end itself.”

He speaks about what “revolutionary means in New Architecture: the ability to face a problem
objectively, putting its objective views into practice, and having neither the attitude of self-
complacency nor propagandist bravura.

He talks about the fact that even though politics does play a huge role in architecture, it's not the only
thing to think about.
SYNTHESIS

In the world of architecture, Marcel Breuer and his pals had some interesting thoughts. Breuer, a big
shot in the modernist gang, said simplicity was a bit tricky, even though he came up with the term
"maximum simplicity." His idea was to make things clear by focusing on structural rules, practical use,
and keeping things pretty without any weird shapes.

Then comes Robert Venturi, the rebel. He didn't buy into the idea that "less is more." Instead, he cheekily
said "less is a bore." Venturi liked the idea of things being a bit confusing, having a mix of stuff, and not
sticking to one meaning.

Vittorio Gregotti was also on Team Venturi. He believed making a simple building was like solving a
puzzle. Unlike those who stuck to basic shapes, Gregotti said simplicity came from all the parts of a
building working together, like they really needed each other.

So, Breuer wanted simplicity through clear rules, Venturi liked things a bit messy and contradictory, and
Gregotti thought simplicity was about all the parts fitting together like a perfect puzzle. These different
views show that talking about architecture isn't straightforward. Breuer wanted things clear and
functional, while Venturi and Gregotti thought the beauty was in the mix and the puzzle of it all.

These differences in ideas show how architecture thinking changed a lot during this time. It's like a big
conversation with lots of twists and turns about what simplicity in design really means. Understanding
these different thoughts gives us a peek into the deep world of architectural theory and how people
argue about what makes a building simple and beautiful.

SELF REFLECTION

When I think about traditional art, I strongly believe that it tends to repeat the same things over and
over and can be a bit too fancy. As I look into the history of art, I notice a pattern of the same kinds of
art appearing again and again. While this art is undoubtedly skilful, it often makes me wish for
something simpler and less decorated.

Traditional art, with its classical origins, often shows off its skills and forms in a very grand way. The
paintings from the past, created by great artists, are amazing, but they all seem to express similar ideas
throughout different times. This creates a cycle that, even though it's culturally rich, lacks the simple and
genuine feeling that comes with unpretentious expression.

I believe that there is a special beauty in art that is simple and not overly decorated, a kind of
elegance that lasts beyond trends and time limits. In today's world, where new and unusual things are
popular, many people want art that is genuine and speaks to them without too much fancy stuff. Real
art, to me, is found in simple expressions that aren't weighed down by tradition and excessive
showiness.

In my strong love for real and authentic art, I feel the need to support the idea of keeping things simple.
I want to explore new areas where art can be free and not stuck in the same old patterns or overly
fancy styles of traditional art.
Thinking about what Breuer said about traditional art lacking a personal touch, I strongly disagree.
Especially when it comes to handmade art, there's a deep connection between the artist and their
creation. In handmade art, like paintings or crafts, every stroke carries the artist's feelings and passion.

Each stroke in handmade art is like a hidden message, a dance of emotions captured in colors and
textures. The little imperfections, the subtle differences, show the artist's true self. The canvas becomes a
kind of container, holding the artist's emotions like echoes in a quiet room.

Saying traditional art lacks a personal touch ignores the silent talk between the creator and their
creation. In every brushstroke, there's a secret chat between the artist's heart and the developing
masterpiece. It's a chat where passion mixes with colors, where the artist's emotions flow through their
creation.

In the hands of a skilled artist, traditional art becomes a poetic expression of human feelings. It's like a
language without words, a quiet music echoing the artist's soul. To enjoy traditional art is to go on a
journey, following the emotions hidden in the colors and textures—a journey that uncovers the deep
personal touch in every stroke and crafted piece.