Visionary architecture
Encyclopedia
Visionary architecture is the name given to architecture
which exists only on paper or which has visionary qualities. While the term ‘visionary
’ suggests the idea of an idealistic, impractical or Utopian notion, it also depicts a mental picture produced by the imagination. These architectural drawings on paper allow insight of the unusual perception of the worlds that are impossible to visit everyday, except through the visual dramatization of the designed, imaginative environment.
There are also two meanings that are derived from both terms ‘imagination’ and ‘imaginary,’ meaning unrealistic and impossible, and the other the ability to deal creatively with an unseen reality. A significant precedent that adheres to the concept of visionary architecture is the Renaissance
architect
Giovanni Piranesi, who also had to think twice about the difference in meaning of the two terms. The titles of his well-known prison etching
works had two versions. The first was ‘imaginary prisons,’ and the final as ‘prisons of the imagination.’
Criticism of the 'Irrational' design=
There are two differing perceptions in relation to the work of the imagination, and visionary architecture. One position is that there are no unbuildable buildings, only unbuilt ones, and the other is the belief that some visionary architectural drawings are impossible to be inhabited by the human.
In the absence of a clear grasp of a controlling idea, as an individual, each design is found to be highly arbitrary, and it is this aspect, which results in the designs to seem and look impossible.
Conceptual architecture, or architecture based on the act of imagination and vision, dissociates the physical nature of architectural design. However, it is the idea and belief that these drawings and images are able to portray the true meaning of architecture and design that connotes the significance of the works of visionary architecture. The complete history of architecture must include both the built and the unbuilt environment.
Tool of Scaling=
Architects are able to imagine, see and define a distant object that is in fact a building through the process of fabricating models, scaling them up and down, ascending from the abstract to the concrete. Instead of physically creating the design of a building into it's complete scale and form, multiple up and down transitions in scale size of models allow the building design that is on paper to emerge, become visible, representing the material as being real, bringing the building into existence.
The visionary nature of the eighteenth-century movement did not reside so much in this radical formalism as in the bizarre conceptions in which the architects indulged, and their delight in projects of vast size. These scaled models were considered to be utopian and fantastic in design, where the sense of fantasy is enhanced by symbolic meanings that are achieved by making the whole form of the building speak.
period, the differing representations of buildings evolved and grew rapidly through the introduction of perspective. The discovery of this visualization tool, allowed for experimentation with imaginary architectural scenes, and while many architects wrote greatly on the subject, others articulated their concepts and ideas through drawings.
During the sixteenth century, a Dutch painter and architect, Jan Vredeman de Vries, produced numerous engravings, which portrayed new forms of architectural representation. His works were of pure fantasy and imagination, but were also regarded as avant-garde
messages in the depiction of architectural space.
Giovanni Battista Piranesi
was considered one of the greatest printmakers of the eighteenth century. He is notably one of the greatest printmakers of his time, where it is through this medium in which he demonstrated his mastering of etchings of imagined spaces. It was suggested that the drawn spaces would lose their magic and meaning if they were to be physically built in real life, as they would lose their unique forms of detail and intricacy, which is only achieved through drawings. The particular series of etchings ‘Prisons (Carceri d'invenzione) or 'Imaginary Prisons,’ depict his famous fictitious and atmospheric etchings of Rome’s ancient remains, and his dreams of antiquity that often surpassed reality.
is another significant figure that adhered to the work of the unbuilt and paper architecture. The writing in his architectural manifesto of ‘Thinking Architecture,’ Zumthor grasps the significance of emotion and experience as measuring tools of the architecture, thus being the before-hand process of the design. His work was greatly unpublished because his philosophical belief of how architecture should be experienced first hand played a greater role in his designs. His perception that designing buildings should relate directly to our emotions.
Rem Koolhaas
moved to New York in 1972, where his years of being situated in Manhattan
, expanded his fascination with the city, leading to a close examination of the dynamics, which constructed it. His writing ‘Delirious New York’ and the theory of manhattanism are the results of this study depicts his perception on the manifesto of the city, dealing with the city as a subject, where the book itself is a spatial project, while the text explains the structure of the city, using the narrative sequence and typographic layout to effectively mimic the space.
The young motion picture industry also created an impact within the architectural scene, represented through the films ‘Metropolis’ and ‘Just Imagine.’ This differing form of media allowed for the elaborate and imaginative architectural sets depicting futuristic scenes to be observed. Through this, other significant artists and architects such as Hugh Feriss were influenced.
Etienne-Louis Boulle’s Monument to Newton is considered to be more perfect due to its capability in successfully defying any attempt to physically use it, being the most magnificent unusable space images, a dome with its literal-minded fulfilment underfoot, in a second answering dome.
Hermann Finsterlin
is considered to be the one of the most radical of the Expressionists, and is notable known for having produced fascinating carbuncular studies of the most unbuildable and obscure buildings. Although he never built anything, his visionary drawings focused on perspectives, playing with the forms of unusual, organic shapes. Finsterlin’s architectural drawings would require the most devious methods to physically build as they go against their form, beginning with careful dissection and separate moulding of each part, only emphasizing and confirming that they are among the purest paper buildings ever developed.
Architecture
Architecture is both the process and product of planning, designing and construction. Architectural works, in the material form of buildings, are often perceived as cultural and political symbols and as works of art...
which exists only on paper or which has visionary qualities. While the term ‘visionary
Visionary
Defined broadly, a visionary, is one who can envision the future. For some groups this can involve the supernatural or drugs.The visionary state is achieved via meditation, drugs, lucid dreams, daydreams, or art. One example is Hildegard of Bingen, a 12th century artist/visionary and Catholic saint...
’ suggests the idea of an idealistic, impractical or Utopian notion, it also depicts a mental picture produced by the imagination. These architectural drawings on paper allow insight of the unusual perception of the worlds that are impossible to visit everyday, except through the visual dramatization of the designed, imaginative environment.
There are also two meanings that are derived from both terms ‘imagination’ and ‘imaginary,’ meaning unrealistic and impossible, and the other the ability to deal creatively with an unseen reality. A significant precedent that adheres to the concept of visionary architecture is the Renaissance
Renaissance
The Renaissance was a cultural movement that spanned roughly the 14th to the 17th century, beginning in Italy in the Late Middle Ages and later spreading to the rest of Europe. The term is also used more loosely to refer to the historical era, but since the changes of the Renaissance were not...
architect
Architect
An architect is a person trained in the planning, design and oversight of the construction of buildings. To practice architecture means to offer or render services in connection with the design and construction of a building, or group of buildings and the space within the site surrounding the...
Giovanni Piranesi, who also had to think twice about the difference in meaning of the two terms. The titles of his well-known prison etching
Etching
Etching is the process of using strong acid or mordant to cut into the unprotected parts of a metal surface to create a design in intaglio in the metal...
works had two versions. The first was ‘imaginary prisons,’ and the final as ‘prisons of the imagination.’
Criticism of the 'Irrational' design=
There are two differing perceptions in relation to the work of the imagination, and visionary architecture. One position is that there are no unbuildable buildings, only unbuilt ones, and the other is the belief that some visionary architectural drawings are impossible to be inhabited by the human.
In the absence of a clear grasp of a controlling idea, as an individual, each design is found to be highly arbitrary, and it is this aspect, which results in the designs to seem and look impossible.
Conceptual architecture, or architecture based on the act of imagination and vision, dissociates the physical nature of architectural design. However, it is the idea and belief that these drawings and images are able to portray the true meaning of architecture and design that connotes the significance of the works of visionary architecture. The complete history of architecture must include both the built and the unbuilt environment.
Tool of Scaling=
Architects are able to imagine, see and define a distant object that is in fact a building through the process of fabricating models, scaling them up and down, ascending from the abstract to the concrete. Instead of physically creating the design of a building into it's complete scale and form, multiple up and down transitions in scale size of models allow the building design that is on paper to emerge, become visible, representing the material as being real, bringing the building into existence.
The visionary nature of the eighteenth-century movement did not reside so much in this radical formalism as in the bizarre conceptions in which the architects indulged, and their delight in projects of vast size. These scaled models were considered to be utopian and fantastic in design, where the sense of fantasy is enhanced by symbolic meanings that are achieved by making the whole form of the building speak.
Early designers and artists
During the RenaissanceRenaissance
The Renaissance was a cultural movement that spanned roughly the 14th to the 17th century, beginning in Italy in the Late Middle Ages and later spreading to the rest of Europe. The term is also used more loosely to refer to the historical era, but since the changes of the Renaissance were not...
period, the differing representations of buildings evolved and grew rapidly through the introduction of perspective. The discovery of this visualization tool, allowed for experimentation with imaginary architectural scenes, and while many architects wrote greatly on the subject, others articulated their concepts and ideas through drawings.
During the sixteenth century, a Dutch painter and architect, Jan Vredeman de Vries, produced numerous engravings, which portrayed new forms of architectural representation. His works were of pure fantasy and imagination, but were also regarded as avant-garde
Avant-garde
Avant-garde means "advance guard" or "vanguard". The adjective form is used in English to refer to people or works that are experimental or innovative, particularly with respect to art, culture, and politics....
messages in the depiction of architectural space.
Giovanni Battista Piranesi
Giovanni Battista Piranesi
Giovanni Battista Piranesi was an Italian artist famous for his etchings of Rome and of fictitious and atmospheric "prisons" .-His Life:...
was considered one of the greatest printmakers of the eighteenth century. He is notably one of the greatest printmakers of his time, where it is through this medium in which he demonstrated his mastering of etchings of imagined spaces. It was suggested that the drawn spaces would lose their magic and meaning if they were to be physically built in real life, as they would lose their unique forms of detail and intricacy, which is only achieved through drawings. The particular series of etchings ‘Prisons (Carceri d'invenzione) or 'Imaginary Prisons,’ depict his famous fictitious and atmospheric etchings of Rome’s ancient remains, and his dreams of antiquity that often surpassed reality.
1960's Designers and Architects
Peter ZumthorPeter Zumthor
Peter Zumthor is a Swiss architect and winner of the 2009 Pritzker Prize.-Early life:Zumthor was born in Basel, the son of a cabinet-maker...
is another significant figure that adhered to the work of the unbuilt and paper architecture. The writing in his architectural manifesto of ‘Thinking Architecture,’ Zumthor grasps the significance of emotion and experience as measuring tools of the architecture, thus being the before-hand process of the design. His work was greatly unpublished because his philosophical belief of how architecture should be experienced first hand played a greater role in his designs. His perception that designing buildings should relate directly to our emotions.
Rem Koolhaas
Rem Koolhaas
Remment Lucas Koolhaas is a Dutch architect, architectural theorist, urbanist and "Professor in Practice of Architecture and Urban Design" at the Graduate School of Design at Harvard University, USA. Koolhaas studied at the Netherlands Film and Television Academy in Amsterdam, at the Architectural...
moved to New York in 1972, where his years of being situated in Manhattan
Manhattan
Manhattan is the oldest and the most densely populated of the five boroughs of New York City. Located primarily on the island of Manhattan at the mouth of the Hudson River, the boundaries of the borough are identical to those of New York County, an original county of the state of New York...
, expanded his fascination with the city, leading to a close examination of the dynamics, which constructed it. His writing ‘Delirious New York’ and the theory of manhattanism are the results of this study depicts his perception on the manifesto of the city, dealing with the city as a subject, where the book itself is a spatial project, while the text explains the structure of the city, using the narrative sequence and typographic layout to effectively mimic the space.
The young motion picture industry also created an impact within the architectural scene, represented through the films ‘Metropolis’ and ‘Just Imagine.’ This differing form of media allowed for the elaborate and imaginative architectural sets depicting futuristic scenes to be observed. Through this, other significant artists and architects such as Hugh Feriss were influenced.
Etienne-Louis Boulle’s Monument to Newton is considered to be more perfect due to its capability in successfully defying any attempt to physically use it, being the most magnificent unusable space images, a dome with its literal-minded fulfilment underfoot, in a second answering dome.
Hermann Finsterlin
Hermann Finsterlin
Hermann Finsterlin was a visionary architect, painter, poet, essayist, toymaker and composer. He played an influential role in the German expressionist architecture movement of the early 20th century but due to the harsh economic climate realised none of his projects...
is considered to be the one of the most radical of the Expressionists, and is notable known for having produced fascinating carbuncular studies of the most unbuildable and obscure buildings. Although he never built anything, his visionary drawings focused on perspectives, playing with the forms of unusual, organic shapes. Finsterlin’s architectural drawings would require the most devious methods to physically build as they go against their form, beginning with careful dissection and separate moulding of each part, only emphasizing and confirming that they are among the purest paper buildings ever developed.