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الحقيقة والأخلاق في العمارة — Transcript

by آفاقُ العِمَارة | م.فهد بكر · 2,972 words · 497 segments · language en · Watch on YouTube

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0:00In 1834, a massive fire broke out at the
0:02old Palace of Westminster in London, the
0:04place where British parliamentarians
0:06used to meet, destroying a large part of
0:08it. However, a prominent architect at
0:10the time saw this event as an
0:12opportunity to rethink the meaning of
0:14architecture itself, because rebuilding
0:16Parliament would offer a chance to apply
0:18architectural traditions. That express
0:20religious and moral values. Not just
0:22settling for the external beauty of the
0:24building. And here we arrive at a
0:25question. It was the focus of an
0:26important intellectual debate that began
0:28in. The nineteenth century and has
0:29continued until today. Is it the
0:31architect's job to design only beautiful
0:32buildings? Or is there an architectural
0:34responsibility toward honesty and the
0:36values and principles that a building
0:38reflects?
0:47The British architect Augustus Pugin was
0:49one of the most important advocates for
0:51the Gothic Revival in the nineteenth
0:53century. But for him, Gothic
0:54architecture was not just pointed arches
0:56. Or stained-glass windows, or
0:58historical decorations being reused in
1:00buildings. Rather, he saw this style as
1:02deeply linked to Christianity. And to
1:04social life in the Middle Ages. And to a
1:07system of values reflected in the way
1:08Gothic buildings were constructed and
1:10designed. In his book "Contrasts,"
1:12published in 1836, Pugin compared
1:15medieval cities with modern industrial
1:18cities. Through this comparison, he did
1:20not just criticize the shape of the
1:21buildings. He also criticized the
1:23society that produced them. In other
1:25words, he believed that the decline in
1:26architectural quality was not a separate
1:28formal problem. But rather a reflection
1:30of the decline in the values that
1:32organize society's life. The core idea
1:34for Pugin is that evaluating
1:35architecture must be deeper than the
1:37form. Instead of asking if a building is
1:39beautiful or if its facade is
1:40symmetrical. Are its decorations
1:41attractive? The questions could be: What
1:44values does the building express? And
1:45does its construction method agree with
1:47the meaning it tries to convey? Does the
1:49shape we see reflect the reality of the
1:50building? Or is it just an external
1:52appearance? Pugin saw that Gothic
1:53Christian architecture was an example.
1:55It expresses an integrated relationship
1:57between faith, practice, and craft. And
1:59it contains a connection between
2:00architectural form, construction method
2:02, and societal values. As for using
2:03historical elements from different
2:05styles just to get a beautiful facade.
2:07This is considered a kind of separation
2:08between form and meaning. Meaning,
2:10architectural authenticity is not just a
2:12matter of taste or choosing a specific
2:13style. But it is an issue related to
2:15honesty and the correspondence between
2:16beliefs and construction on the ground.
2:18But we must pay attention to a point:
2:20Pugin had clear religious convictions.
2:22Therefore, he was not neutral toward all
2:24architectural styles. And this is
2:25something we will talk about in a little
2:27while.
2:29In his book "The True Principles of
2:32Pointed or Christian Architecture,"
2:34published in 1841.
2:38Pugin laid down two basic rules for
2:40design. The first rule is that the
2:42building should not contain any elements
2:44not justified by function. Or by the
2:45requirements of construction or
2:47architectural propriety. And the second
2:49rule is that decorative elements must be
2:51linked to the basic structure. And that
2:52they enrich it rather than appearing as
2:54separate additions. Meaning, if we
2:56design a column, its presence is not
2:57just adding a beautiful classic shape to
2:59the facade. Without it having a logical
3:01relationship to the building's
3:02composition. And if we use decoration,
3:04it is better that it be part of the
3:05architectural idea. It's not just an
3:07element we added to fill the facade's
3:09voids. These principles are quite
3:10similar to the functional ideas that
3:12appeared later. But there is a
3:14difference; Pugin did not demand
3:16reducing ornament for economy or
3:17efficiency. He wanted ornament to be
3:19honest and linked to the material,
3:21construction, and meaning. So the
3:23problem for him wasn't the existence of
3:25ornament, but using it without
3:27justification. In Pugin’s time,
3:28architects were using elements from
3:30various historical styles. Such as
3:32Gothic, Classical, and Renaissance
3:35styles. This was to design buildings
3:37that suited the prevailing tastes. An
3:38architect might design a Gothic facade
3:40because it was the socially accepted
3:42style. And choose classical columns
3:43because they give the building a
3:45majestic appearance. Without
3:46understanding the principles that
3:47produced these elements in the first
3:49place. Pugin had a problem with this
3:50approach. Because the building doesn't
3:52become historical just by its shape.
3:53This means it is a true extension of the
3:55history it is quoting from. An
3:56architectural style is not an external
3:58shell that we can move from one era to
3:59another. As if time does not change.
4:01Because behind every architectural style
4:03are religious, social, and technical
4:05conditions. And specific construction
4:07methods and perceptions of the world
4:08that helped shape this style. So, does
4:10using historical styles in new buildings
4:13always mean a moral error? The answer is
4:15no, and this is an important point if we
4:17evaluate it from Pugin's own thought.
4:19For example, he linked Gothic
4:20architecture closely to Christianity and
4:22considered it the only ideal moral model
4:24, which sometimes made him dismiss
4:26architectural alternatives. Instead of
4:28evaluating them according to their own
4:29conditions, as he claimed. And there is
4:31an important lesson here. Even when an
4:33architect speaks from a perspective of
4:35moral principles, we must. Test these
4:36principles through criticism and not
4:38turn them into absolute judgments on all
4:40forms of architecture. In Pugin's
4:42critique of society, he started with an
4:43image of ancient cities where churches
4:45appear as central elements in urban life
4:47, and architecture is linked to
4:49religious and social life. As for the
4:50modern city, he portrays it through
4:52factories, chimneys, and institutions
4:54linked to discipline and punishment, as
4:56if the modern city has lost much of its
4:58humanity. Of course, this comparison is
5:00controversial and sometimes exaggerated
5:02, and it is not a neutral historical
5:03comparison between ancient and modern
5:05cities. But its importance lies in the
5:07idea it tries to convey, which is that
5:09architecture is inseparable from labor,
5:11power, and the economic and social
5:13conditions in which people live. A
5:14building is not shaped solely according
5:16to the architect's desire, but also
5:18according to the person funding it,
5:20using it, and working on its
5:21construction. And according to the
5:23social system it belongs to.
5:25In general, in the middle of the
5:27nineteenth century, the British critic
5:29and writer John Ruskin published his
5:31book "The Seven Lamps of Architecture"
5:34in 1849, presenting a broad vision of
5:36architectural ethics.
5:38Unlike Pugin, who linked his moral
5:40stance to the power of Gothic
5:41architecture. Ruskin did not limit moral
5:43principles to a single historical style
5:45. Instead, he established seven symbolic
5:48principles. He called them the lamps of
5:49architecture. They are Sacrifice, Truth
5:52, Power, Beauty, Life, Memory, and
5:55Obedience. These lamps are not technical
5:57rules. Telling us how to design a window
5:59or determine the dimensions of a column
6:01. Rather, they are moral and aesthetic
6:02principles. Helping us reflect on the
6:04relationship between architecture. ...
6:06and the human, society, nature, and
6:08history. Among these principles, we will
6:10focus on the "Lamp of Truth" because it
6:12directly illustrates how architectural
6:14decisions can turn into moral issues.
6:16When Ruskin spoke about truth in
6:18architecture, he didn't mean that a
6:20building should be functionally honest
6:22or aesthetically harmonious; rather, he
6:24linked the building’s truth to the
6:26materials used, the construction method
6:28, and the relationship between what
6:30appears before us. And what is actually
6:32happening behind this appearance. I mean
6:34, if lying and deception are
6:36unacceptable in our daily interactions.
6:38Why should we accept them when they
6:39become a design decision intended to.
6:41Make the building look more valuable or
6:43luxurious than it truly is? For Ruskin,
6:45it is not enough for an architect to say
6:47they care about the honesty of a design
6:49; this concern must show in their actual
6:52choices, from materials to details. And
6:54from the structural system to the
6:55finishes. So the idea of truth has
6:57become part of professional practice.
6:59Not just a beautiful theoretical concept
7:01. One of the most important applications
7:03of truth. For Ruskin is what is known as
7:05"Truth of Materials." Simply put, the
7:08way a material is used and expressed
7:10architecturally must not be misleading
7:12regarding its nature or properties. So,
7:15if an architect uses a synthetic
7:16material that resembles natural stone in
7:19a building, does this usage mean the
7:21architect has committed a moral error?
7:23Not necessarily. The problem arises when
7:25the building's design is based on
7:27misleading the viewer into seeing a
7:29material or construction method
7:30different from what is actually there,
7:32especially when this illusion is used to
7:34hide the building's reality or
7:36exaggerate its value. There is a
7:38difference between using an alternative
7:39material to achieve a design goal. And
7:41presenting it in a way that
7:42intentionally misleads the user. For
7:44example, modern materials, cladding, and
7:46surface treatments are all legitimate
7:49tools in contemporary architecture. But
7:51the question is, how do we use them? And
7:53what impression do we want to convey
7:54through them?
7:56Ruskin's concept of truth is also
7:58related to the structural system, or "
8:01Structural Truth." Which measures the
8:03honesty of the relationship between the
8:04way the building's form suggests it is
8:06constructed, and the way it is actually
8:08constructed. For example, if a column
8:10were placed under a ceiling as if the
8:12ceiling were resting on it. But in
8:14reality, the ceiling was supported in
8:16another way and wasn't resting on it at
8:18all. Or an arch that suggests it is
8:20carrying a stone mass above it, while
8:22another hidden structural system is
8:24actually holding that mass. These are
8:25examples of cases that could present an
8:27incorrect idea about the way a building
8:29is constructed from Ruskin's perspective
8:31. But we must note that not every
8:33non-structural element is considered a
8:34lie. And it is not required that every
8:36visible column perform a structural
8:38function. Because architecture uses
8:40decorative and expressive elements. They
8:42have real aesthetic or symbolic value,
8:44even if they don't perform a structural
8:45function. So, the goal is not to turn
8:47all building components into structural
8:49elements. Rather, it is to distinguish
8:51between architectural expression and a
8:53misleading claim about the reality of
8:54construction. And this distinction is
8:56necessary so we don't reduce
8:57architectural honesty to just the issue
8:59of the structural system. To understand
9:01these ideas that may seem contradictory
9:03, we must differentiate between artistic
9:05expression and deception. For instance,
9:07a painting might depict a scene that
9:09does not exist before us. But we do not
9:11consider this scene a deception just
9:13because it is a product of the
9:14imagination. We know this is a work of
9:16art and we treat it on that basis.
9:19The problem begins when this fictional
9:21work is presented as a material truth.
9:23The same applies to architecture. We can
9:25use ornamentation, color, simulation,
9:27and various artistic treatments without
9:29abandoning architectural honesty.
9:31However, we must be careful not to use.
9:33These treatments in a way that deceives
9:35the user about a reality that does not
9:37exist. Regarding the material,
9:38construction, or the executed work.
9:40Therefore, architectural honesty does
9:42not require a building to reveal all its
9:44technical and structural details. All
9:46that is required is that the design does
9:48not rely on deliberate deception. To
9:49convince us that a building possesses
9:51properties or value it does not truly
9:53have. The conclusion is that
9:54architectural truth is not the opposite
9:56of art and creativity. Rather, it is a
9:58standard that helps us distinguish
10:00between legitimate architectural
10:02expression and deception in a book. The
10:04Stones of Venice, published in three
10:07volumes between 1851 and 1853, Ruskin
10:09spoke about the relationship between
10:11architecture and society through
10:13studying the history of Venice and its
10:16buildings.
10:17Important ideas in this book were his
10:19view on human craftsmanship and the role
10:21of the worker in producing architecture
10:23. Ruskin did not consider the worker
10:25merely as a tool to execute the
10:27architect's instructions. But rather as
10:29a person who reflects their experience
10:30and skill. And their freedom in making
10:32decisions on the architectural work. For
10:34this reason. He appreciated some
10:35characteristics of Gothic architecture.
10:37Such as the variety of details. And the
10:39appearance of the mark of human labor.
10:41And the lack of perfect uniformity
10:42between handmade elements. Meaning what
10:45we consider today as poor workmanship in
10:47details. For Ruskin, it is never a flaw
10:49. This is evidence that the maker
10:50contributed their experience and
10:52diligence. And was not just a tool for
10:54executing a repetitive mechanical
10:55process. I hope this doesn't reach our
10:57craftsmen friends. To clarify. This does
10:59not mean that every difference in
11:01execution is proof of quality
11:02craftsmanship. And then we accept these
11:04execution errors as normal. The idea is
11:06that the quality of architecture is not
11:08just about the visual result. But also
11:10about the human labor that produced it.
11:12Ruskin lived in a period that saw the
11:14expansion of factories, railways, and
11:16mechanical production. These were shifts
11:18that greatly changed the nature of labor
11:20and production. But for him, evaluating
11:22these shifts had to be done by knowing
11:24their impact on humans. And on the
11:26quality of life in general. Not just
11:27through metrics of speed, cost, and
11:29efficiency. And in a general. Sense, he
11:31was not impressed with the production
11:33system. Because it could turn the worker
11:34into a tool for executing a repetitive
11:36task. And separate labor from skill,
11:38creativity, and decision-making. This
11:40does not mean a rejection of modern
11:41technology. Because his objection was
11:43only to making economic efficiency the
11:45sole criterion for evaluating work. This
11:47raises a question that remains important
11:49today. Especially with the spread of
11:51prefabrication, robotics, and artificial
11:53intelligence in design and construction
11:54. Should we measure the success of
11:56modern technologies only by their
11:58ability to reduce time and cost? Or
11:59should we also think about their impact
12:01on the maker, the product, and the
12:03experience gained? For this reason,
12:05Ruskin considered ornamentation to be
12:07something that expresses human
12:08imagination. And the skill of the maker
12:10and the human relationship with nature
12:11and the world they live in. This is, of
12:13course, linked to the nature of the
12:14ornamentation itself. And its
12:16relationship with material, craft, and
12:17the architectural experience. So, for
12:19ornament to be acceptable from Ruskin’s
12:21point of view, we must ensure it adds
12:22real meaning to the building. Or that it
12:24reveals skill in both design and
12:26execution. Rather than just being a way
12:28to hide poor quality. Or to provide a
12:29luxurious appearance that does not
12:31reflect the building's reality. On this
12:33basis, Ruskin criticized treating
12:34architecture as a commodity. Whose goal
12:36is to quickly impress the viewer without
12:38caring for what lies behind the external
12:40image. Ornament that presents a false
12:42value is considered an ethical problem.
12:44However, ornament that enriches our
12:46perception of the building and shows the
12:48potential of material and craft can be a
12:50true expression of human life. So, for
12:53Ruskin, giving up beauty or ornament is
12:55not required, but they must be linked to
12:57honesty and the value of the
12:59architectural work.
13:01Ruskin, in the mid-nineteenth century,
13:03was not the only thinker who linked
13:05architecture to ethics and truth. There
13:07was an architect and writer named Edward
13:09Lacy Garbett.
13:11He discussed almost the same ideas in
13:14his book, "Rudimentary Treatise on the
13:16Principles of Design in Architecture,"
13:19published in 1850. Among the concepts
13:21linked to this discussion were "
13:23constructive truth" and "constructive
13:25unity."
13:27Which is represented by the idea that
13:28the form of a building must express its
13:30actual method of construction. For
13:32example, if we want to use Gothic or
13:33Classical elements, we must not ignore
13:35the structural logic historically
13:37associated with them. Columns, lintels,
13:39and arches are not just formal
13:41vocabulary. These are specific
13:43construction methods based on
13:44relationships between elements,
13:45materials, and load-bearing techniques.
13:47But this does not mean we should
13:49literally copy old structural systems
13:50into every new building. The important
13:52thing is to understand the relationship
13:53between the form and the structural
13:55system that produced it. And that the
13:56design should not be a mere superficial
13:58imitation.
13:59Here, we arrive at the question that was
14:01linked to nineteenth-century
14:03architecture. If Gothic architecture
14:05originated in specific historical,
14:07religious, and social circumstances, can
14:09it be revived simply by repeating its
14:11forms? Pugin leaned toward Christian
14:13Gothic architecture as an ethical model
14:15that must be returned to. Ruskin was
14:17concerned with the honesty of materials
14:18, the value of craft, and the
14:20relationship between architectural work
14:22and human life. In contrast, Garbett
14:23focused on the necessity of
14:24understanding structural principles and
14:26not separating architectural form from
14:28construction logic. Despite the
14:29differences in their ideas, they all
14:31revolve around one issue. Which is the
14:33relationship of architectural form to
14:34the circumstances and principles that
14:35produced it. Nevertheless, not every
14:37historical quotation can be considered a
14:39mistake. Or that there is no longer a
14:40need to draw from architectural history
14:42. On the contrary, a contemporary
14:44building can be inspired by history,
14:45reinterpret its elements, and use its
14:47vocabulary in new ways. Of course,
14:49without this inspiration turning into an
14:51external shell that hides a
14:52contradiction between form and the
14:54reality of the construction. In the end
14:56, beauty alone is not enough to judge
14:58the quality of architecture. A building
15:00may be attractive from the outside, but
15:02it might hide a contradiction between
15:03its appearance and its reality. Or
15:05between the quality of its design and
15:06the circumstances in which it was
15:08produced. Conversely, committing to
15:09honesty does not mean giving up
15:11innovation, ornament, or technology.
15:13Rather, it means being conscious of what
15:15our choices express. And taking
15:17responsibility for the relationship that
15:19arises between the human, the form, the
15:20material, and the construction.

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