By Ömer Akin
※ 메모:
...... One of the most remarkable treatises on architecture that deals with the value ethical approach to architecture is Ruskin’s Seven Lamps of Architecture. His contribution clearly gave impetus to movements to follow, including Modernism. In his preamble he states:
I believe architecture must be the beginning of arts, and that the others must follow her in their time and order: and I think the prosperity of our schools of painting and sculpture, in which
no one will deny the life, though many the health, depends upon that of our architecture. (Ruskin 1981)
This is a simple affirmation of the important role of architecture as the branch of the arts that connects aesthetics with the domain of ethics through the cultural context within which architecture exists. His treatise puts fourth a set of characteristics that architecture has to
fulfill in order to meet its moral obligations. The seven lamps: sacrifice, truth, power, beauty, life, memory and obedience clearly derive from the Aristotelian notion of virtue.
In discussing the lamp of truth for example he begins his discourse by stating:
There is a marked likeness between the virtues of man and the enlightenment of the globe. (Ruskin 1981)
Ruskin uses the metaphor to effect, which is pursued throughout the book to bolster the anthropomorphic approach. Later he speaks of the principal of truth as it applies to the building design, as if the building’s morality is exhibited in behavior attributed to inanimate materials from which it is made (Ruskin 1981).
Ruskin establishes a principle of moral imperative through each of his lamps. At once he is arguing for a virtue-based ethic in architecture while he is also establishing principles like the ‘honesty, or truthfulness, of the use of materials.’ This principle in particular became one of the flags of the Modernist movement and has been hotly debated ever since.
In describing the Modernist ethics, for instance, Royston Landau (1997) talks about several key ideas: freedom from convention, social responsibility, and, of course, honesty of expression of materials. He points out that one of the basic tenets of Modernism has been the freedom from the ‘tyranny’ of classical architecture and its archaic patterns. At once Landau’s approach harks back to the Aristotelian and Platonic virtue set of the moral individual and at the same time to the individualism of the early American architects, who ironically were trained at the Ecole des Beaux Arts, the hot bed of neo-classicalarchitecture. Landau also refers to the social and cultural context of architecture and reiterates the Modernist principle that requires the architect to be responsible towards the cultural context of their buildings. ..............
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