Poetry in Architecture

8/21/2006

“Art should reveal the creative method of nature.”  -- Louis Henry Sullivan

Recently, I was invited by the UST Architecture students to speak during their celebration of Architecture week.  The topic was wonderful and very challenging.  However, I had previous commitments and can only now write about how there can be Poetry in Architecture, or how to recognize Design for Aesthetics.

There are several different approaches to design, some better than others, often used in combination in varying degrees.  One approach is the practical approach, whereby design is shaved down to the basic requirements of the proponent and plugging any loopholes with no-frills solutions.  This is a good approach for budget-conscious owners or developers who have minimal intention of using their own building.  It is also the easy first step for first-time homeowners and young architects. 

A second approach is the nature-loving design, whereby great attention is given to the surrounding natural elements and landscape and tailor-fitting the project to these.  This is evident in buildings which bring nature indoors or use existing rocks and trees as important features of the resulting building. 

Next, we have the “thoughtful” design, created by architects who probe and analyze the owners’ personality and lifestyle, desiring to create for them the building that would most suit their wants and needs.  This style is more complicated and involved because several factors have to be considered.  The building must not only be usable, but ideally, lovable.  It does not have to be a showcase of artistry, but it must have the owners’ present and medium-term interests down pat. 

There is another style of design prevalent today.  This is the “bandwagon” design, which caters to the fad of the moment.  The shape of buildings, the colors and features, the materials and furnishings are dictated by contemporary taste.  Only time will tell how successful this design will turn out for its user. 

One final approach to design (although many more may be interpolated from the above) is the artistic style.  In this method, a design concept is developed based less on purpose or practicality, but more on its artistic value.  In fact, the purpose of the design may not be readily clear, but even from the outset, it is perceived as beautiful.  In such designs, intricate attention is paid to the use of forms and space, the play of light and shadow, or the wielding of colors and textures.  The inspiration for the design is often totally unrelated to the structure itself or its intended use.  Practicality bows to creativity, because the purpose of the building is not really the owner’s, but its own.  Another issue regarding buildings such as these is that the construction cost cannot be measured by the price of its materials, in the same manner that a sculptural piece is more valuable than the cost per pound of the stone, wood, or steel used to produce it.  The poet in the designer can draw out from the very ordinary materials, a stunning creation that can evoke a variety of reactions and moods.  This “poeticism” of design is often the reason for clashes between the architect and the civil engineer, if not between the architect and the proponent himself.  The only way such a project can push through is if the architect and the owner think alike or at least share the same vision. 

In this last category of design fall some of the most outstanding buildings of the world.  In the past, this approach was espoused by the renowned German designer, Ludwig Mies van de Rohe, who “forwards the concept not of the poetry of true simplicity, but the simplicity of true poetry.” (Paul J.)  His designs, though ostensibly simple, were complex works of art that distilled architecture down to its essences.  Another stalwart designer was his pupil, Frank Lloyd Wright, whose designs are still as remarkable today, as when he first envisioned them. 

Today, we can mention a few outstanding designs that, albeit not the most practical, are among the landmarks of our modern landscape.  In Jumeirah, Dubai, United Arab Emirates, there is the Burj al-Arab, created by Thomas Wills Wright (architect) and WS Atkins and Partners (construction).  This hotel looks like the sail of a dhow, an Arabian vessel.  In Beijing, China, there is the National Stadium currently under construction, on an award-winning design by Herzog and De Meuron and the China Architectural Design and Research Group.  This sports arena for the coming Olympic Games is detailed like a bird’s nest, a favorite oriental delicacy.  In Singapore, there is The Esplanade Theatres on the Bay, also known as the Durian Building, created by Michael Wilford and Partners and DP Architects.  This performance and arts venue is shaped like a durian fruit, a distinctly Asian produce. 

The designs are all eye-catching and massive, the materials are strong, and the poetic statements are explicit.  As Louis Henry Sullivan once said, “The essence of things is taking shape in the matter of things… where unfailingly in nature these shapes express the inner life. …Art should reveal the creative method of nature.”