"What kind of things can be called architectural works? This question will eventually return to the concept of type. " "Type is a key factor in understanding architectural objects ... Now, the understanding of type is the understanding of architectural essence." [2] It seems that in Moneo's architectural content, the idea of type is such a core content.
"The site is an expected entity. It always waits for the building it expects to build on and expresses its hidden features through this building. "
Rafael Moneo
First of all, Moneo's typology thought.
From the end of 18, Quatrem e de Quincy, a famous French architectural theorist, put forward a clear statement about typology for the first time, and architects and theorists of past dynasties made unremitting explorations on typology. On the basis of predecessors' theory and practice, Moneo critically developed his own typology thought. Among them, Quincy, Algin [3] and aldo rossi have the greatest influence on Moneo.
Definition of 1. type
Predecessors' definition of type:
"Type represents the idea of an element, which is itself the law of forming a model." [4]- Kotmiri de Quincy
"Type should be understood as a form of internal structure." [5]- George Algan
"Type is the concept of architecture, which is closest to the essence of architecture." [6]- aldo rossi
Kotmiri has a famous expression about the concept of type: "Type does not refer to the plagiarism and perfect imitation of the image of things, but refers to the concept of a certain factor, which itself is the law of forming a model. As far as its artistic practice scope is concerned, the model is the repetition of things. On the contrary, genre is the concept that people can draw all kinds of works that are not completely similar. As far as its mode is concerned, everything is accurate and clear, while the genre is somewhat vague. Therefore, what a type imitates is always something recognized by emotion and spirit ... "[7] Here, he emphasized the difference between a type and a model, denying that a type is something that can be imitated and copied, but the law that forms a model.
But is this rule a priori? Or is there a reason for it? Moneo wrote in an article: "Algan returned to the origin of the concept of type, explained the definition of Cotemiri in a more practical way, and avoided the neo-Platonism philosophy contained in it. For Algan, type is an abstract concept between the use and form of architecture. However, because it is produced by reality, its identification process must be a process of inferring principles from facts. At this point, Algan's opinion is completely different from that of Kotmiri. Kotmiri's type thinking is an idealized absolute thinking-a transcendental' form'. For Algin, only after comparing and compounding some formal laws did types appear. " [8] It can be seen that at this point, Moneo agrees with Algan's point of view: the type is not a priori, but the result of reality-the comprehensive result of social environment and natural environment.
On this basis, Moneo formed his own definition of type: "Type is a concept used to describe a group of things with the same formal structure; As a formal structure, it also keeps close contact with reality, and is widely concerned by social behavior on architectural activities. In the end, the definition of type will be deeply rooted between reality and abstract geometry. " [9] that is, the types of internal formal structure include reality and abstract geometry-reality is "cause" and abstract geometry is "effect".
Step 2 be careless
1 type) is a medium for transmitting historical and cultural information.
Moneo believes that if it is not rooted in the past, history and tradition, it is impossible to build a solid future, or a culture that can truly guarantee the sustained and benign development of human civilization. Architects should be the protectors and evaluators of culture and the creators of culture. Therefore, in the early days, Moneo was obsessed with the in-depth study of architectural history, and wanted to know: What is the thing that has lasting vitality and reveals historical relevance in the process of architectural development?
In the article on typology, Moneo wrote: "For Kotmiri, the concept of typology will re-establish the connection between architecture and the past, and form a metaphorical connection with the moment when human beings first face the architectural problem and recognize it in a form. In other words, the type explains the reasons behind the building, and it has not changed since ancient times. Type strengthens the eternal initial moment through its continuity. At that moment, the connection between form and the essence of things was understood by people ... Moreover, whenever a building is associated with a certain form, it implies a kind of logic and has established a profound connection with the past. " [10] It can be seen that the type based on the continuity of culture, lifestyle and form is exactly what Moneo is looking for.
Therefore, for Moneo, history and cultural traditions are precious wealth of human beings and an important source of design; Typology explores the internal essence of architecture, which bridges the gap between history, cultural tradition and reality.
2) Type is the essence of architecture, and its fundamental point lies in caring for people.
The fundamental meaning of architecture lies in caring for people. In the evolution of human civilization, cities and buildings, as the stage of human production and life, have left a permanent stain on human survival; As a form of internal structure, it retains the reasons behind the form. Therefore, Rossi believes that type, as an inherent law, is not artificially prescribed, but formed in the development of human generations. It embodies the most basic life style of human beings, and also includes the long-term accumulation of psychological experience of human beings fighting against nature from generation to generation. He wrote in Urban Architecture that "a specific type is a combination of a lifestyle and a form, although their specific forms vary greatly from society to society." [1 1] It can be seen that Rossi tried to trace the type problem back to the origin of architecture and explore the eternal relationship between the form of architecture and human psychological experience.
Rossi's views have a profound influence on Moneo. He believes that the types extracted from historical architectural forms through historical elimination and filtration are the accumulation of human survival and traditional customs; The concept of type reveals the eternal characteristics of architectural art and embodies the psychological structure of human beings. Therefore, to understand the architectural object, "the understanding of the type problem, that is, the understanding of the architectural essence" is a key factor. [ 12]
3) Types include development and change.
The views against typology often think that typology is a "rigid mechanism", which excludes change and emphasizes an approximate mechanical repetition. However, Moneo believes that the real concept of type has implied the idea of change and transformation. In his definition of type, the close relationship between type and reality has been shown. "The concept of type itself is allowed to change within a certain range, which means a perception of the real society and, of course, an understanding of the possibility of change. ..... Therefore, type can be regarded as a framework for change and a basic element of dialectical continuity required by history. " [13] At the same time, Moneo thinks that "the consistency and stability of forms in some examples should not be considered as the result of the concept of type; Should belong to the same problem to be solved, so the final form is roughly the same. Or in other words, the stability of a society-reflected in the stability of behavior, technology and image-is also reflected in architecture. " [ 14]
In fact, the use of types in reality needs to go through a development process from abstract types to real life environment. In this process, the type will respond to the specific surrounding environment and transform it into a concrete form that can reflect the special attributes of the place.
Therefore, types, including development and change, can be understood from two levels. The first level: the type itself changes with the change of reality and external conditions; The second level: the change of abstract type localization, the type is transformed into a specific form in a specific environment.
4) Define the concept of type.
A. Type is not a model, but only a geometric meaning (for Durand).
Moneo agrees with Kotmiri's argument about the difference between type and model, and opposes directly using type as model. He believes that "there should be more discussion about a type of behavior, rather than a quick and directly applicable type." [ 15]
/kloc-Durand, a French architect in the 20th century, took geometry as the basis of his architectural research, and arranged the combination of basic geometric forms and architectural components (such as columns, square columns, bases, vaults, etc.). ) into a series of charts. On this basis, he believes that the form of architecture can be combined from the elements in the chart; The architect's job is to combine these elements to form a more complex whole.
Moneo thought that although Durand's method met the requirements of convenience and economy at that time, it limited people's imagination and misled people's creative practice to some extent, because his method was tantamount to editing architectural elements and fixed forms. The definition of "type past" and the original reason of architectural form were transformed by Durand into a general geometric method based on superimposing axes on the grid. The connection between form and behavior has disappeared. " [ 16]
B. This type is not a prototype, not a factory standard product (for Cobb).
Early in his career, le corbusier was very interested in the fact that the prototype of industrialization could be repeated indefinitely. In the early 1920s and 1930s, he put forward the Domino House and Paris Reconstruction Plan, as well as the towers in splendid cities, all of which emphasized the same theme. Later, Marseille apartment is an obvious example: it is a living unit, the result of an industrial production process, and it can be rebuilt anywhere-Marseille, Nancy, Berlin-without any change.
So due to industrialization, types have become prototypes. Moneo wrote, "This actually negates the concept of type that was thought in the past. The particularity of the building object made the building adapt to the site in the19th century and use it flexibly within the scope of a structure. Now it is extremely rejected by new buildings, making the building a product of mass production. " [ 17]
C. Type is not an image, nor is it imposed by history (for the Venturi and Creaer brothers).
Moneo opposes arbitrary dismemberment and arbitrary use of types that carry historical information and human lifestyles.
When analyzing the house of Nantucket, one of robert venturi's works, Moneo wrote: "Only the external image was preserved, and Venturi only put in the elements he needed, such as windows and stairs, without paying more attention to the original model. Therefore, the architectural image defining a house contains many elements with only general characteristics. When almost all of these elements become standard components, they lose any obvious connection with the formal structure. " [ 18]
It can be seen that Moneo believes that for Venturi, the type has been simplified to an image, or the image is the type; All the elements that constitute the architectural image obviously come from the architectural history, but the traditional interdependence between elements has disappeared, and the types of internal formal structures have also disappeared.
In the works of Creaer Brothers, the new scene of the city includes those types of components contained in the ancient urban structure. In this regard, Moneo raised a question: "When some new projects only explain the growth process of the ancient city, can they be regarded as strictly following typology?" [19] Moneo thinks, "They just provided a typological scene of a real city, and they didn't use typological ideas to make the city itself. Therefore, the relationship between city and place, city and time solved by typology before has been destroyed ... Today's typology has been simply understood as a composition technology. The so-called "typology research" is only different in the generation of images or the regeneration of traditional typology. Therefore, it can be said that it is the nostalgia for genre, not the real experience of genre thought, which gives these works formal coherence. " [20]
D. Types need to be localized and realistic (for Rossi)
"We are constantly faced with various types of thoughts and images, but they always seem to be in a state of being completely divorced from the imagined reality." [2 1]
Rossi built his works on the basis of abstraction and expressed a surreal thought of returning to nature with the help of the simplest geometric form. He thinks that no form can express his thoughts like abstract geometric shapes. He emphasizes the significance of place, but in most of his works, it is difficult to really feel the characteristics of place and environment. In his view, the continuation of the environment is only a secondary issue, and the essence of architecture is type. Moneo believes that it is precisely because of Rossi's paranoia about abstract expression of types that his architecture is facing a problem of how to be realistic and environmentally friendly. "Rossi's type can only communicate with themselves and their idealized environment. They are just some silent hints of an idealized and perhaps nonexistent past. " [22]
5) The design process of typology.
Moneo thinks: "Architecture and the material world made up of architecture not only need to be described by types, but also need to be created through them. ..... The design process is the process of bringing typological elements as formal structure thoughts into reality. In this process, the real reality will give each independent work a feature. " [23]
In About Typology, Moneo wrote: "Architects are free to deal with typology, because there are two stages in the design process that can be distinguished from each other: a typology stage and a formal generation stage." [24] He believes that the typology stage is a stage of finding and obtaining types: in this process, designers look for types that conform to people's behavior and psychological structure from personal experience and analyze their internal formal structure; The stage of form generation is a stage of type positioning: the designer takes the selected type as the basic form structure and responds to specific requirements in the design. This process includes the deformation and transformation of types according to the actual situation, as well as the localization process of surface structure to the environment. Therefore, the typological stage of design represents the relationship between design and the past, while the formal generation stage shows the interaction between design and present and future.
Second, this example shows that
Here, from the perspective of Moneo's typology, this paper briefly analyzes the formation process of one of his representative works, the Roman Art Museum.
The Museum of Roman Art is located in Merida, a small town in central and western Spain. Founded in 25 BC, the city is the capital of Rusita, a Roman colony, with rich Roman historical sites. The location of the museum was chosen on the ruins of a theater and arena near ancient Rome. The initial intention of the plan is to build a museum to give local residents a chance to learn about the history of this lost ancient Roman city on the land where a new city has been established, and to arouse people's good memories of that era.
Moneo does not want to solve the design problem by strictly imitating the architectural style of ancient Rome, because it belongs to the contemporary era; But it can't be a completely modern work, because it wants to tell people the story of that history. What shall we do? Moneo takes the whole architectural history as his creative source, and seeks inspiration for solving problems.
Let's first observe several buildings in ancient Rome and some paintings by G.B.Piranesi) [25] The spatial image of ancient Rome.
In the space of Pantheon and St. Stanca's Church, we can feel a quiet atmosphere: in a centralized plane of basic geometry, there is only one movable platform; Surrounded by closed walls, there is no window for direct external lighting; The natural light at the top is the protagonist of the whole space, creating a quiet atmosphere and giving people a mysterious feeling. In this quiet environment, time seems to be stagnant, and everything seems to be eternal. This paper temporarily calls it the type of multi-column hall with top lighting.
In Constantine's cathedral, we can feel a type widely used as a public hall: the plane is generally rectangular with semi-circular niches at one or both ends; Space is very axial; The hall is often divided into a main hall and a side corridor by columns, and there are often mezzanines on the side corridors; The main hall is higher than the side corridors on both sides, and the light enters the room from the heights on both sides of the main hall. In this kind of space, the light entering from the side and the open hall are consistent with indoor people's yearning for natural light and public psychology. This paper temporarily calls it basilica style.
In piranesi's works, the extremely rich indoor space in Roman architecture is vividly displayed: the indoor space is organized with extremely complicated streamline, and the horizontal and vertical movements are intertwined, which strengthens the vertical space orientation; Light is projected on the surface of the material in an unpredictable way. Being in it, people seem to be in a dream, and their emotions fluctuate with the movement in space. This paper temporarily calls it piranesi's dynamic spatial type.
Let's observe the spatial characteristics of the Roman Art Museum and compare the similarities with the above buildings.
In the museum, the main space is a series of parallel compartments, which are connected by huge arched coupons and have strong axial nature; The floor of the main space is a continuous movable platform with a mezzanine on one side as a showroom; Some light enters from the windows with high sides, but the main illumination is natural light from the top. Obviously, this is a variant of the multi-column hall with top lighting, and it is also a variant of the main hall. Here, the historical sites on display and the history they represent are quietly revealed again and again under the soft natural light; A long history and eternal Roman art reverberate around the continuous arches.
The streamline organization and spatial development of the whole building can be found in the spatial image of ancient Rome painted by piranesi. Moneo guides people with a gradual downward streamline. People walk in it, as if they have entered the stratum of history. Spaces with different scales and different lights are organized in unexpected ways. In this way, Moneo created a dialogue scene: the reminiscence of ancient times and the perception of modern times are closely intertwined, and people feel the past and present in constant dialogue.
At the same time, through the perception of history and place, Moneo built walls with Roman bricks; Also in order to arouse the current perception, he used a special connection method to create a seamless and modern brick wall surface. This also reflects one of his typological thoughts: the wall itself is a memory, not a copy.
Here, Moneo created an unforgettable place: his museum, built on real ruins, presents the appearance of an ancient building and is also suitable for use now. Modern thin cement slabs span between the arches, and the balcony with steel structure protrudes from the Roman brick wall, just like adding a new component to the existing building. So his museum reflects three times: a real past, an imaginary past and a real present.
It can be seen that Moneo is working according to his typology thought. Through multiple extraction and transformation of types, as well as localized interpretation of materials, structures and details, his buildings have both memories of the past and perceptions of modernity, and have their own vitality, and finally become the buildings expected by the site.
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