CHAPTER 4.0 CONCLUSION AND RECOMMENDATIONS 104
1.7 CONCLUSION
2.1.2. ARCHITECTURE AS MACHINE-BUILT : INDUSTRIAL SYSTEMS
2.1.2.1. ARCHITECTURE AND THE MACHINE
“The Sparse geometries of the twentieth century Modernism were, in large part, driven by Fordian paradigms of industrial manufacturing, imbuing the building production with the logics of standardisation, prefabrication and on-site installation. The rationalities of manufacturing dictated geometric simplicity over complexity and the repetitive use of low cost mass- produced components.” Kolarvic (2003:53).
In Detroit 1913 Henry Ford pioneered a factory that was derived entirely around a continuously moving production line of both machine and human input (Gillian, 2003) (Refer to Fig_2.1.2). This was a breakthrough in the age of production and stood as a testament of things to come; order, cleanliness, standards, health and safety checks, security, quality control, and bookkeeping had formulated a new shift in industry. Necessitating absolute control and a precise spatial arrangement of the built environment, the strictness and rigidity of the machine also dictated to people working in the factories, as they themselves became parts of the production line. In addition, the firmness that was brought about through control and standardisation was inevitably reflected in the production of architecture of the time (Gillian, 2003). Architecture engaged with the automotive industry through means of manufacturing in the form of mass production. The ability of mass producing cars essentially formulated the rigid, geometric methodologies for modern architecture and these were then capable of being built off site and assembled from the conveyor belts, similar to production of cars, in kit form. (Frampton, 1983, Gillian, 2003). The innovative use of Henry Fords Model-T was justified by Wright (1901) and used the strategy to sell the idea of the assembled house with a “new simplicity, “a machine made simplicity” (Wright cited by Henderson, 2011).
Fig_2.1. 2 : A pioneer in mass production, Henry Ford innovated a manufacturing process that moved along a rolling assembly line. This revised production times of the Model T Ford from over 12 hours to just under 3 hours (Gillian, 2003).
Modernism stripped ornamentation and nostalgic references of styles from the past through progressive technologies, which enforced architecture that could span great distances though steel and reinforced concrete, as well as curtain walling which could entail large expanses of glazing. As these elements could be mass-produced, it created a sense of universal sameness. Furthermore, in his bold utopian vision for order, Le Corbusier (1923) responded to the progressive production by stating that architecture should focus on maintaining better conditions for motor cars and growing populations, even declaring that a house should act as a “machine for living in” (1923:60) (Refer to Fig_2.1.3). According to Le Corbusier (1923) architecture was to be transformed by ‘constructing, living and conceiving’
(1923:62) mass-produced houses. This enabled the house to be manufactured off-site, under the supervision and strictness of a controlled environment and assembled, much like a puzzle, on site. There was little room for fault as the precision and manufacturing techniques superseded the mistakes often made by human error (Moore, 2001, Sennett, 2008).
Fig_2.1. 3 : Montage of Le Corbusier holding a model of Unite D’Habitat. A mass produced Architecture formulated through Prefabricated units that would then “slot” into a concrete framework.
As modernism relied on standardisation from door handles to whole façades, the notion of a product-formed architecture evolved with a mechanical, mass-produced, and standardized technique of building. The mass production of architectural components and the ability for rapid replication by the machine gave way to a new form of prefabricated architecture. The introduction of new technologies and material uses were universally accepted as concrete,
technology and modularisation generated a monolithic architectural model spanning the modern world (Gillian, 2003, Frampton, 1983). As the architecture was a symbol of progression, the dominant style was translated worldwide, sometimes misrepresented, diluting regional characteristics. Machines were engineered as solutions to represent hope and promise (Henderson, 2011). Wright (1901) condoned the machine and suggested how the machine processes could be reinterpreted as the repetitive quality of mass production can bring design to a much wider audience. However, the design of mass production must be of high standards as its aptitude could be diluted if it falls into the trap of becoming money driven consumer commodity or product. The replications of its style were repeated around the world, irrespective of place and also extended into almost every form of design. The vestiges of the prominent Modern architectural movement are still evident today, although often misinterpreted (Refer to Fig_2.1.4).
Fig_2.1. 4 : With help from the machine, modernism suggested the cleaning-up of the old architecture of the past by creating clean, new, and ordered architecture.
Roke (2009) and Ghirardo (1996) reiterate that within the upheaval, the “utopian and often mechanically reliant visions” (Roke, 2009:11) of this modern technology were equally revered, as they were feared. The essence of Modernism was arguably a reaction to social problems and although little regard was paid to its location, the interface of humans, the
architecture was guided by the invention of machines; a reaction or an expression of its time.
The machine, and its practices, had a major impact on the formulation of architecture. This impact came twofold, through needs and wants; which formulated a divide between survivalist and overindulgence in Modernism.
The needs came from the after-effects of the Second World War, as a large extent of Europe had been destroyed, there was a need for housing. Modernist machine-based methodologies were utilized to house people as quickly and as cheaply as possible (Ghirardo, 1996). In contrast, the style was embraced as an experimental expression as a form of want. The technology and processes available then gave rise to an architectural expression of its time whereby architects wanted to use the strengths of the machine. The use of mass production, standardisation, and a machined preciseness was expressed.
However, in the 1920’s, Richard Neutra explored machine-made aesthetics somewhat differently to his peers (Refer to Fig_2.1.5).
Fig_2.1. 5 : In Lovells Health House, Neutra explored the industrial nature of production through various means, whereby the atmosphere of the house was created through the considered use of technology. This could be demonstrated by its construction technique, the factory assembled windows and the Ford Model-A headlights installed in the main stairwell. From afar the building seems to be masonry, however it is a lightweight steel frame with gunite (sprayed on concrete).
According to Frampton (1983), a more direct architectural representation of technology and material has been redeveloped further as a “high tech” (Frampton, 1983:17) architecture, otherwise known as Late Modernism or Structural Expressionism. This movement advocated
geometric and structural architectural forms that celebrated structure through exposed materiality. The architecture was an experimentation of technology, structure, and materiality which had only been invented at the time and was focussed predominately on hollow steel sections, therefore much like Modernism, it was an expression of its time. This movement was incorporated by the likes of Richard Rogers, Norman Foster and Renzo Piano in the 1970’s (Refer to Fig 2_1.6). However, Frampton (1983) suggests that there has been divergence between ‘high tech’ architecture and that which utilizes “[…] a ‘compensatory façade’ to cover up the harsh realities of this universal system” (Frampton, 1983:17) which essentially generated an architecture of representation (Refer to Fig 2_1.6).
Fig_2.1. 6 : A blend of both ‘high tech’ and representation can be observed in Pompidou centre. Although most of the expressed tectonic is structural, there are parts that are not and are merely representational. Richard
Rogers/Renzo Piano.
2.1.3. ARCHITECTURE AS REPRESENTATION :