Catalogue - INVENTORY, Different typologies
What the Catalog is about ?
The preeminent gene of the Modern Movement’s DNA was its aesthetics. It was promoted through an unlimited list of manifestos and catalogues. Adolf Loos and Le Corbusier introduced modernism from two opposite directions. The first one denounce the previous styles, while Le Corbusier create the first Catalogue of modernist aesthetics. Les pilotis, le Toit-terasse, le plan libre, la fenêtre en longueur and la façade libre, become the five o cial organs of the modernist anatomy.
In total contrast to the modernist Dogma, contemporary architecture resist to be classified. The paradox of contemporary architecture is that even though it doesn’t have a written manifesto, each construction have be- come the manifesto itself.
But today, with the repressive condition of making architecture this architectural era become Exhausted. With the prominence of competitions trying to play a glamorous game on producing a massive seductive images to hide the real to win some “bling bling” awards, shows that contemporary architecture only “shares” shapes to o er a common visual language.
The consequence is a subconscious recognition of architecture’s limited amount of “shapes” and consequently repetition as a fashion tendency.
As mentioned before, contemporary draws inspiration from the unrealized schemes of Le Corbusier, Mies, Fritz lang, Hugh Ferris, Paul Virilio, Alexander Vesnin, El Lissitzky, and Ivan Leonidov; it reinterprets the social utopias of Ledoux and Boullée; it recycles strategies aborted decades ago, and invokes schemes from totally contrasting historical, political and economic situations.
In contemporary architecture the shapes are indifferently repeated. What then are the Categories proposed by today architecture ?
This study shows how leading contemporary practices find their common language without any o cial statement. It proposes an understanding of contemporary architecture through the creation of a taxonomic catalogue of shapes. The following nine categories : Vertical Condenser, Hardcore fonts, Cubix collector, Conglomeration of Volumes, Ego Icon, Pure Shapes, Mutatis Machine, Mystical landscapes and Des yeux qui ne voient pas, are an assemblage of buildings that share coincidental similarities.
" Si les trente dernière années illustrent le pluralisme de l’architecture, celui-ci n’est ni un style, ni un dogme, ni un mouvement, ni une structure. Le pluralisme est tout au plus ce qui se passe en l’absence d’orthodoxie. Toute tentative de rechercher un chimérique nouveau style glob- al, qui remplacerait ce que certains considèrent comme le front uni de l’ancien Style international - et que d’autres voient comme une gigantesque escroquerie -, a autant de chances d’aboutir que la chasse au yéti. " Hugh Pearman