An Artistic Dialogue within Architecture
Malarchitecture, Oslo 2011: An after-party in the new city, 2011. License: Media Use. By National Museum/Andreas Harvik.
Inspired by 'Hånd og Maskin’ at the Nasjonalmuseet, a present-day debate around the artistic side of architecture has come to light. The role of architectural drawings and tools has been questioned in this new exhibition. Specifically, the transition from the expression of ideas and intentions represented through hand-drawn sketches to sophisticated digital tools later on. This digital transition has changed the notion of architecture in itself and therefore has become a tempting topic of discussion. Today’s Påfyll critically reflects on this current debate and how the exhibition has been curated.
From the oldest centuries onwards, architecture has had a strong association with the art world. Architecture has been defined as the method of building and designing structures with an artistic purpose, instead of only constructing sober blocks. We know this discipline as developing beautiful structures that come from a constantly evolving design process. While drawing and sketching, from all different angles, the best possible outcome is created. Almost every step is intrinsically artistic. This end-to-end process is what defines the beauty and uniqueness of architecture. The discipline could be considered one of the classical forms of fine art. However, architecture does not fit solely into the category of fine art, because it serves a valuable purpose. Its practice is a combination of both functional and artistic needs, therefore delivering both practical and creative goals.
Hans Vredeman de Vries (1527–c.1607) (school of). Fountain in the Courtyard of a Palace. Judges' Lodgings, Lancaster.
Through paintings, we could uncover that architects have always embraced the importance of art within their field. This acceptance has allowed architects to use artistic expressions in their work, to shape emotions of its users, while creating a sense of comfort and balance. Furthermore, art enables us to see things differently and develop a counterintuitive approach towards everyday practices. This determines the foundational essence of architecture as well, creating another interesting dimension to everyday buildings. As an example, the Renaissance painting by Vredeman de Vries (1527–1607), ‘Fountain in the Courtyard of a Palace’, represents the connection of these two forces. The architectural structure is the key element here and it is characterized by a triple arcade backed by Corinthian columns. Its three-dimensional view is elegantly shaped and perfectly balanced. It forms the basis of the pillars and the central arcade whereby the eye needs to follow the lines of perspective.
The ‘Hand and Machine’ exhibition displays how architecture has been represented through paintings. They reveal a continual quest for a field that is beautiful, humane, conceptual and innovative. By providing a closer look at sketches and drawings, which form the initial ideas for projects, the exhibition highly values the design processes. It’s relevant to see how plans come into existence to expose the different techniques that have been used. The exhibition shows that through digitalisation, the artistic side of architecture has become more and more lost. Most architectural drawings today are created via computer programs rather than by hand. Although these new digital tools are practical to save time and help with visualization, they distance us from reality at the same time. All the drawings in the exhibition share therefore a critical attitude towards the aesthetics of computer design.
As the exhibition title reveals, the hand has been substituted by machines. These new technological innovations and computer software have influenced how architects approach their discipline. Drawing boards were replaced by computers and consequently, these digital designs became more complex than the hand drawings from before. Nowadays, it can be seen as a skill in and of itself to be able to work with these computer programs. The Nasjonalmuseet explicitly shows this by presenting screen recordings of work processes within Illustrator and Photoshop. It is a new form of creating art and the skill must receive more appreciation. Also, in this way, every step can be considered intrinsically artistic.
Hand and Machine - Exhibition photo. License: Media Use. By: National Museum / Ina Wesenberg
The discourse throughout ‘Hånd og Maskin’ has been thematically quite dualistic. Also, visually, how the exhibition has been curated is questionable. The artworks did unfortunately not speak for themselves. They could have been presented in a more balanced way, which would make them more convincing. When entering the exhibition floor, it feels like a messy architectural workroom that hasn’t been organised for years. The drawings, machines and TV screens have been placed very randomly. The pictures on the floor, where these artworks are standing, cannot be recognized and therefore could come across as overwhelming. Too much is going on at the same time, there is no clear structure or guidance. Buying the exhibition catalogue is therefore recommended over visiting the exhibition.
References
Hnin, T. (2022, December 27th). The Connection Between Art And Architecture: The Beauty of Synergy. Novatr. https://www.novatr.com/blog/art-and-architecture
Kracov, D. & Levinstein, D. (2022, January 10th). Is Architecture Art? EDEN Gallery. https://www.eden-gallery.com/news/is-architecture-art
Nasjonalmuseet. (2023). Hånd og Maskin. Arkitektoniske tegnigner. Utstillingskataloger. https://www.nasjonalmuseet.no/en/exhibitions-and-events/national-museum/exhibitions/2023/hand-and-machine--architectural-drawings/
Rathore, D. 6 Examples of architecture in paintings. Rethinking the Future. https://www.re-thinkingthefuture.com/architectural-community/a3167-6-examples-of-architecture-in-paintings/#google_vignette