Documente Academic
Documente Profesional
Documente Cultură
Persistent Doctrines
Author(s): Thomas L. Schumacher
Source: Journal of Architectural Education (1984-), Vol. 56, No. 1 (Sep., 2002), pp. 22-33
Published by: Taylor & Francis, Ltd. on behalf of the Association of Collegiate Schools of
Architecture, Inc.
Stable URL: http://www.jstor.org/stable/1425750
Accessed: 05-07-2016 08:46 UTC
Your use of the JSTOR archive indicates your acceptance of the Terms & Conditions of Use, available at
http://about.jstor.org/terms
JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range of content in a trusted
digital archive. We use information technology and tools to increase productivity and facilitate new forms of scholarship. For more information about
JSTOR, please contact support@jstor.org.
Association of Collegiate Schools of Architecture, Inc., Taylor & Francis, Ltd. are
collaborating with JSTOR to digitize, preserve and extend access to Journal of Architectural Education
(1984-)
This content downloaded from 81.153.4.188 on Tue, 05 Jul 2016 08:46:33 UTC
All use subject to http://about.jstor.org/terms
of an Inside"
Some Sources of One of Modernism's
Most Persistent Doctrines
One of the most pervasive doctrines of composition for modernism was the necessary correspondence between the interior and the exterior as expressed in Le Corbusier's maxim, "The outside is the
result of an inside." Many Modern movement architects interpreted this maxim as requiring that both
"space" and "program" be expressed on the exterior of their buildings. Although Modern movement
architects and theorists themselves wrote little on this subject, a number of earlier writings, including
some nineteenth- and twentieth-century books by traditionalists, reveal the academic roots of these
precepts. This paper traces the development of these ideas.
Introduction
Henry-Russell Hitchcock2
arguing,
This content downloaded from 81.153.4.188 on Tue, 05 Jul 2016 08:46:33 UTC
All use subject to http://about.jstor.org/terms
?? 2? -' ? .
'.
do
..
Am'
4h ...- ....
..
?.
!.
4#
.?;
..
-1
'
ii
t
141b
.
.410.
?..#
rI
,
.t
"
if
iI
This content downloaded from 81.153.4.188 on Tue, 05 Jul 2016 08:46:33 UTC
All use subject to http://about.jstor.org/terms
a constructive, source.
fire."15
was important, but generalized. For him, the manipThe route to an architecture that seeks to
This content downloaded from 81.153.4.188 on Tue, 05 Jul 2016 08:46:33 UTC
All use subject to http://about.jstor.org/terms
different shapes."21
Expression
office building.
25 SCHUMACHER
This content downloaded from 81.153.4.188 on Tue, 05 Jul 2016 08:46:33 UTC
All use subject to http://about.jstor.org/terms
"I
-p.
d
, 1
?o
-.
"
"1_
urban gestures.
or architects of the late Middle Ages, the Renaissance, or the baroque. If anything, many of those
reading.27
This content downloaded from 81.153.4.188 on Tue, 05 Jul 2016 08:46:33 UTC
All use subject to http://about.jstor.org/terms
behind it."35
relationships.
building."31
27 SCHUMACHER
This content downloaded from 81.153.4.188 on Tue, 05 Jul 2016 08:46:33 UTC
All use subject to http://about.jstor.org/terms
H.I-
(rep.a..
..
t . C. , - . . .. . I..
I~I.A
...
...F
r> K
tr:St
701
1 .,7.-/
-PL
| .-
za tpawf
This content downloaded from 81.153.4.188 on Tue, 05 Jul 2016 08:46:33 UTC
All use subject to http://about.jstor.org/terms
elements.39
the norm of external expression - and that any variation from this norm is understandable and
at Vaucresson.52
29 SCHUMACHER
This content downloaded from 81.153.4.188 on Tue, 05 Jul 2016 08:46:33 UTC
All use subject to http://about.jstor.org/terms
3. Le Corbusier, Errazuris house, Chile, 1930, section (Le Corbusier, Oeuvre compl&te, 7929-34).
4. Marcel Breuer, MoMa House, 1949, New York (from Herdeg, The Decoroted Diagram).
i~-
"-
...l
Irr
Op
"J
6.
11I-
rjrm
"
W,
Amp-
40
.40.
Ap
lot
S,0?
#,~r
tC
4/~
~~~~
l'
_,%
rr
"
..--
This content downloaded from 81.153.4.188 on Tue, 05 Jul 2016 08:46:33 UTC
All use subject to http://about.jstor.org/terms
plasticity of the facade is a more general adumbration of the idea of the frame.
abstracted.
Conclusion
composition.53
outside."
31 SCHUMACHER
This content downloaded from 81.153.4.188 on Tue, 05 Jul 2016 08:46:33 UTC
All use subject to http://about.jstor.org/terms
5. Bruno Zevi, facade and window studies (from The Language of Modern Architecture).
s1
.ii
I, I _ 4
L " I AIS
rrx Sl r zz2 Lf I a tr cm'
II
i'-
,/ / 9'!
'4I_ ..frfl.i,:?L?&o
' b A -
This content downloaded from 81.153.4.188 on Tue, 05 Jul 2016 08:46:33 UTC
All use subject to http://about.jstor.org/terms
Notes
1994), p. 49.
1948), p. 18.
expressed disdain for the U.S. Supreme Court building because the
5. Ibid.
6. R. Banham, Theory and Design in the First Machine Age (New York:
26. G.C. Argan, The Renaissance City (New York: Braziller, 1969), p. 30.
27. See T Schumacher, "Palladio Variations," The Cornell Journal of
Architecture, III (1987): pp. 12-29. See, also, C. Rowe and R. Slutzky,
"Transparency, Literal and Phenomenal," Perspecta 8 (1958): 45-54.
28. George Hersey, High Victorian Gothic (Baltimore: Johns Hopkins
the Failure of the Bauhaus Legacy (Cambridge, MA: The MIT Press,
1983).
47. Ibid., p. 6.
36. See Patricia Waddy, Seventeenth Century Roman Palaces: Use and
the Art of the Plan (Cambridge, MA: The MIT Press, 1990).
37. See Michael Dennis, Court and Garden (Cambridge, MA: The MIT
Press, 1986).
38. Richard Etlin, "Les Dedans: J.F Blondel and the System of the
39. Howard Robertson, The Principles of Architectural Composition
1926), p. 117.
is the same publisher and the same year of the publication in English of
Le Corbusier's Towards a New Architecture.
1971), p. 189.
1981.)
46. Klaus Herdeg, The Decorated Diagram: Harvard Architecture and
16. Ibid.
one. (Conversations with the author and other participants of a Charrette for Urban Design in Washington, National Building Museum,
33 SCHUMACHER
This content downloaded from 81.153.4.188 on Tue, 05 Jul 2016 08:46:33 UTC
All use subject to http://about.jstor.org/terms