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that of thoughtful architects, saw architecture chiefly as the art of dressing. They view
their activity as little more than superficial composition of a purely technical and
decorative kind, the pasting up of inherited styles on the framework of a functional
construction.
The art of dressing, as Schmarsow called architecture, taking up a word of Semper, who
had developed the notion of the dressing of architecture, and criticizing it, had led
architecture down the false path of externalization, the path of undue prominence given
to the faade of a building. Schmarsow aimed at correcting this aesthetics from without
by an aesthetics from within. His leading tenet very directly challenged the whole thrust
of Wlfflins psychology of form. The essence of every architectural creation since the
beginning of time is not its form, Schmarsow insisted, but the fact that it is a spatial
construct.1
Harry Francis Mallgrave, Empathy, Form and Space. Problems in German Aesthetics 18731893 (Santa Monica:
Getty, 1994), p. 58.
2
August Schmarsow, The Essence of Architectural Creation, cited after Mallgrave, Empathy, Form and
Space, p. 286.
3 August Schmarsow, The Essence of Architectural Creation, cited after Mallgrave, Empathy, Form and
Space, p. 287.
4 Ibid.
5 Mallgrave, Empathy, Form and Space, p. 61.
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history that appointed the notions of form and space with their array of meanings that proved
so suggestive and fertile to the art and architecture of the first half of the century. It would take
an uncritical return to the polemics of late Modernism to believe otherwise.6
Mallgrave, Empathy, Form and Space, p. 66.
Eleftherios Ikonomo, Afterword to Schmarsow, Grundbegriffe der Kunstwissenschaft, p. 362. Translation C.
Schnoor.
8
Jasper Cepl, Afterword to Schmarsow, Barock und Rokoko, S. 16f. Translation C. Schnoor.
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10
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sculpture are valid terms, only RELATION and PERVASION! There is only one single
non-dividable space. Between inside and outside the covering layers disappear.11
Sigfried Giedion, cited after Jasper Cepl, Afterword to August Schmarsow, Barock und Rokoko, p. 21.
Translation C. Schnoor.
12 Colin Rowe in Collage City, 1978, p. 56.
13 Colin Rowe, Neo-Classicism and Modern Architecture II, in: Rowe, The Mathematics of the Ideal Villa,
p. 141.
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14
15
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We understand only what we ourselves can do. Physical forms possess a character only
because we ourselves possess a body. If we were purely visual beings, we would always be denied
an aesthetic judgment of the physical world. But as human beings with a body that teaches
us the nature of gravity, contraction, strength, and so on, we gather the experience that
enables us to identify with the conditions of other forms. We read our own image into
all phenomena. We expect everything to possess what we know to be the conditions of
our own well-being. Not, that we expect to find the appearance of a human being in the
forms of organic nature: we interpret the physical world through the categories that we
share with it. We also define the expressive capability of these forms accordingly. They can
communicate to us only what we ourselves use their qualities to express.
At this point, some might become dubious and question what similarities or expressive
feelings we could possibly share with an inanimate stone. Briefly, there are degrees of
heaviness, balance, hardness, etc., all of which have expressive value for us. Since only the
human form, of course, can express all that lies in humanity, architecture will be unable to
express particular emotions that are manifested through specific faculties. Nor should it
try to do so. Its subject remains the great vital feelings, the moods that presuppose a
constant and stable body condition.16
Le Corbusier
Architecture is the masterful, correct and magnificent play of volumes brought together in light.
Our eyes were made for seeing forms in light; shadow and light reveal forms; cubes, cones,
spheres, cylinders, and pyramids are the great primary forms that light reveals well; the image is
clear and tangible for us, without ambiguity. That is why these are beautiful forms, the most beautiful
forms.17
Poch
In architecture [poch] means the blackening in of residual areas, such as the thick
structural solids of a plan. At the Beaux-Arts, the precise profile of the plan was inked
by the designer, while the rougher work of filling in the outlined area could be done by a
beginning student. The word also came to be used as a noun at the Beaux-Arts, where
either poch pur (black) or poch dilu (gray) could be required.
Since the structural system used by the Beaux-Arts was load-bearing masonry, poch aided
the reading of the plan by its direct proportional relationship to the white areas
of the rooms it bounded; that is, a large space could be assumed to have a higher ceiling,
and its wider span (and greater load) would require larger supports. Thus the volumetric
aspects of the design could be read from the two-dimensional abstraction of the
plan. With the triumph of the structural frame, the intimate relationship of solid to void
the prized beau poch became meaningless, and was of course scorned by modernists.
The term poch has only recently returned to common use, though it is perhaps little
understood.18
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18
Michael Dennis, Court and Garden (Cambridge, Mass.: MIT Press, 1986), p. 4-5.