Knowing How to See Architecture - Bruno Zevi

Chapter one: The ignorance of architecture

The public is not interested in architecture, nor are the newspapers, and there isn't even good propaganda to prevent it.
that ugliness is carried out in the field of construction, such as urban and architectural scandals.
There is also an inability on the part of architects, historians, and art critics to spread the love for the
architecture, as this would require seeing the entire architecture, which implies visiting it given the impossibility of transportation
An organic culture cannot employ different standards of judgment for modern and traditional architecture.
Judgment on architecture needs clear criteria identical to any work.
Another typical flaw in the way of addressing architecture is to judge it as if it were painting or sculpture, as a pure
plastic phenomenon. it forgets to consider what is specific to architecture and defines it as such: the voids,
the space.
If we want to teach to know how to see architecture, we must do without a clear method with one condition: that it remains
clear the essence of architecture.
Chapter Two: Space, the protagonist of architecture
Lack of habituation to understand space and absence of a coherent method for the spatial study of the
buildings. absence of an acceptable history of architecture
The primordial character of architecture = creation of spaces, which can only be understood through experience.
direct, and not by dihedral projections, mere representations of the measurements that define space in order to be
executed by the constructor.
Our inadequacy to understand space lies in the use of this method.
To begin the study of architecture, one must understand the beauty of a floor plan, the balance of the facades,
volume proportion and how, even so, the building can be architecturally poor.
Knowing how to see space is the beginning of understanding buildings and the main element of architectural criticism.
But, how to represent space? In the 15th century, perspective is discovered, which seems to be able to represent the
dimensions of architecture. At the end of the 19th century, photography replaces drawings, and at the beginning of the 20th century, it is discovered
the fourth dimension, manifested in all cubist works and consisting of representing in the same object its different
points of view.
However, a common dimension to all the arts is not characteristic of any. This implies that in architecture the
The fourth dimension is generated when man moves within the building and studies it from different points of view.
According to this, two mistakes can arise:
1. The spatial experience of architecture is only found inside buildings. The space has no value.
urbanistic.
CORRECTION: The spatial experience extends into the streets, squares... Every urban space is characterized
by the same elements that distinguish architectural space
The spatial interpretation of a building is sufficient as a critical element of an architectural work.
CORRECTION: Internal space is the essence of Architecture, but it is not enough to define it, since in every building
there is a plurality of values (economic, technical…)
The modern movement, in its attempt to bring architecture into its own realm, has banished decoration. But the
The absence of decoration cannot be a point of the program of any architecture.
Conclusion
Although in Architecture we can find contributions from the rest of the arts, it is the internal space that gives us
Judgment about a building, it is the protagonist of Architecture and the scene in which our life unfolds.
Chapter three: The representation of space
The most widespread methods for the representation of buildings are:
Plants
Fronts and sections
Photographs
The plants
They are an abstract thing, but the only way to judge the whole organism of an architectural work.
From the same work, we can create several plans in order for each of them to address the shortcomings of the others.
as far as the representation of space is concerned
With the study of all of them we will be able to understand space.
In the example of St. Peter's in Rome, we see 9 floors.
Too meticulous for a first critical spatial judgment where what matters are not the small variations of
contour.
It is an interpretative simplification of figure 1.
3. The walls continue to stand out, as in figure 2, the frame of the space, but not the space itself.
4. It gives internal spatiality at the viewer's level, but it does not distinguish the different heights. Furthermore, it represents as
interior space corresponding to the porch, when both cannot be experienced simultaneously.
It happens the same as in figure 4
6. Introduces the improvement of the representation of the projections of the upper structure, but continues with the defects.
from figures 2 and 3.
7. Highlights the cross shape of the plant
8. Underline the prevalence of the central dome
9. Give more value to the four domes.
The facades
The linear graphic method is widely used, but it is abstract and anti-architectural. It represents a three-dimensional object.
dimensions with simple lines, without distinguishing textures or fills or empties, without separating the architectural object from
surrounding space.
Despite representing all of this, there are times when the volumetric effect can only be represented by a
model but, nevertheless, does not fully satisfy due to the scale, which qualifies every architectural product.
The photographs
They express well the effects of the wall box.
But the primordial character of architecture is the lived internal space in a journey; photography, static for...
nature cannot make the representation of a building exhaustive
It has advantages over the model (even more so if it includes a human figure) because it gives a sense of scale.
But it can never represent the entire organism of a construction.
However, a cinematic tour of a building can indeed revive a large part of the spatial experience.
Conclusion
All the means to represent space complement each other, but no representation is sufficient: the
The best way to understand space is to live it, through direct experience.
Chapter four: The different ages of space
A valid history of architecture encompasses everything that influences the activity of construction:
Social factors: the economic situation of the country and individuals, class relations, customs...
Intellectual factors: what the individual is, their aspirations...
Technical factors: progress of the sciences and their applications
The figurative and aesthetic world: the set of conceptions and interpretations of art
It must also include an analysis:
Urbanistic: history of the external spaces where the monument is erected
Architectural: history of spatial conception
Volumetric: study of the layer of walls that contains the space
Of the decorative elements: sculpture and painting applied to architecture
From the scale: dimensional relationships concerning the human parameter
The human scale of the Greeks: it is the best quality of Greek architecture; and the greatest defect is ignorance of
internal space, the Greek temple was not designed for the faithful
The static space of ancient Rome: The internal space is present in a grand manner. Plurality of
building program.
The human directive of Christian space: it is the mixture of the human scale of the Greeks with the conception of space.
internal Roman
The directional acceleration and the Byzantine dilation: the paleochristian basilical theme is exalted in the Byzantine period.
The barbaric interruption of the rhythms: a foreshadowing of the Romanesque architecture that is appreciated in the thickening of the
walls, the fondness for rough materials (pebbles, small stones...)
The Romanesque metric: concatenation of all the elements of the building, spatial metric, gradual and slow concentration.
of pushes and resistances, the thinning of the masonry, the disappearance of the atrium.
The dimensional contrasts and spatial continuity of Gothic: the skeleton system is perfected in great
In the Gothic period, the technique of pointed arches reduces lateral forces; flying buttresses and supports.
they become arms capable of opposing themselves to the pushes. The large stained glass windows appear and the
umbrella vaults.
The laws and measures of space in the 15th century: Renaissance architecture is a mathematical reflection.
developed on Romanesque and Gothic metrics. A order, a law, a discipline is sought. Man possesses the secret
of the building and dictates its laws
Volumetry and plasticity of the 16th century: the central aspiration of the 15th century develops, the vision of absolute space in forms.
of a plasticity that now reaches its maximum splendor in the multiple thematic variations of the symmetric space.
The articulation of the plant (spatial, volumetric, and decorative) is no longer a clear example of the development of the conception.
architectural, but now it organizes everything. Supremacy of volume and plasticity as guidelines disappear.
linear.
The movement and interpenetration in baroque space: the baroque is the liberation of space and statism in
definitive, of intellectual and formal prejudices. It is not a simple space conquest, but an affirmation of everything
what represents space, volumetry, and decorative elements in action.
The urban space of the 19th century: This century did not bring new conceptions regarding internal space.
embargo, given the migratory phenomenon towards the cities caused by the industrial revolution, along with the development
of new means of transportation, architecture is forced to provide urban solutions by constructing the
garden cities. In this century, the first solutions to the modern city were proposed.
The 'free plan' and the organic space of the modern age: The modern space is based on the free plan. The walls
they can slim down, curve, move freely thanks to the use of steel and reinforced concrete. Now the
environments can connect with each other.
Fifth chapter: The interpretations of architecture
What relates to the content
Politics: dependency of architecture on political events (for example, the splendor of architecture
Greek corresponds to the period of military victories.
Philosophical-religious: For example, without the Reformation we would not have Wren's 52 churches.
Scientific: Parallelism of mathematics and geometry with architecture. For example, when only mathematics was known
central perspective there is a strong emphasis on the median axis
Economic-social: Architecture is linked to the economic system (medieval architecture corresponds to a
peasant agricultural economy.
Materialists: The architectural morphology is explained by the geography and geology of the place of the work (there does not exist
internal space in the Greek temple because the climate allowed ceremonies to be held outside.
Utility: every building must respond to its purpose.
Technique: Architectural forms are determined by the construction technique. Although rather, the process is
frequently the opposite: the forms repeat a technique that has already been surpassed in fact
Physio-psychological
Mood - architectural style relationship
Sensations that awaken the architectural forms:
The horizontal line: the rational, the intellectual
The vertical line: the infinite
The straight line: decision, rigidity, strength
The curved line: flexibility, decorative values.
The helical: symbol of ascending.
The cube: represents integrity
The circle: sense of balance, of control
The sphere: represents perfection, the final law.
The ellipse: when developed around two centers it does not allow the eye to rest.
The interpretation of geometric shapes: a symbol of dynamism and continuous movement.
The anthropomorphic interpretation: justifies the orders by their consonance with the human body
The Formalist Interpretation
Principles that architectural composition must respond to:
The unity: every composition must have a character of connection between all its parts in both plan and elevation.
Symmetry: it is the balance in buildings of axial character
Balance or equilibrium: symmetry in architecture without axes
Emphasis: center of visual interest
Contrast: unity is the synthesis of contrary elements and not the equality of all elements.
Proportion: relationships of the parts with each other and with the whole of the building
Scale: relationship between the dimensions of a building and those of a human being
Expression or character: the unique personality of each architectural work
Truth: adaptation of aspect-function but without exaggerations (an exaggeration would be to say that a church must be Gothic)
because that is the religious style)
Urbanity: buildings must integrate the urban environment in mutual harmony
Style: it is the linguistics of drawing
There are still some words missing that can express habitability in its exhaustive sense (material, psychological and
spiritual) and design as the harmonious relationship between the parts that form the same thing.
Spatial Interpretation
The original value of architecture is the internal space, and all the remaining volumetric, plastic elements and
Decorative elements have value in the building's assessment according to the influence they exert on spatial value, which is
closely linked to the voids.
Conclusions
Spatial interpretation does not close the way for the others, as all the others influence it.
In the field of architecture, social content, psychological aspects, and formal values are materialized.
Chapter six: For a modern history of architecture
A modern history of architecture must:
They read the works of the past with the eyes of living artists.
Opening the way for modern architecture and that of past centuries
Eliminate prejudices based on cultural or archaeological grounds, as they cause a miseducation of aesthetic taste.
Prepare the aesthetic enjoyment of historical works and everyday architectural and urban spaces.
A modern history of architecture will break down the prejudices that confine architectural culture.
sense of space, I live in a human sense as a reality to be lived.