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Gevork Hartoonian delves into the architectural philosophies expressed in the works of Mies van der Rohe and Le Corbusier. His study highlights the distinct non-synchronicity in their approaches to the relationship between column and wall.

Image courtesy of interviewee. September 5, 2024

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This video discusses the author's research journey into modern architecture, emphasizing the influence of three architects, Frank Lloyd Wright , Le Corbusier and Mies van der Rohe, on the understanding of architectural development. The author recounts how their interest began during graduate studies in Iran and evolved through a PhD at the University of Pennsylvania, where they explored the philosophical implications of technology in architecture, particularly through the writings of philosophers like Martin Heidegger and Walter Benjamin.

A significant aspect of the author's work is the examination of the structural concept of the "domino frame," popularized by architect Le Corbusier, and its impact on modernist architecture. The author underscores how this concept challenges traditional masonry construction and facilitates new tectonic relationships between columns and walls, similar to historical architectural practices, such as those seen in Greek temples.

This video also introduces the idea of a historiographical dimension, focusing on the notion of "delay" in the appropriation of technology in architecture, arguing that not all architects of the same era fully embraced contemporary engineering methods. This video delay is portrayed as a critical historiographical concept to resist the oversimplified narrative of a unified architectural zeitgeist.

The author contrasts the approaches of significant modern architects, illustrating how their different uses of the domino frame reflect broader implications for architecture's future. The discussion includes the commodification of aesthetics in contemporary architecture and a critique of how present architectural education increasingly aligns with industry demands, often neglecting historical scholarship.

Ultimately, the author aims to contribute to architecture’s historiography by analyzing the temporal discrepancies between the works of various architects, thereby enriching the discourse on modern architecture and its evolution.

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Here are five key points from the video:

1. **Historical and Philosophical Interest**: The speaker describes their journey of research and personal interest in modern architecture, specifically highlighting the influence of architects such as Frank Lloyd Wright and the significance of technology in architectural philosophy, referencing the works of thinkers like Martin Heidegger and Walter Benjamin.

2. **Tectonics of Architecture**: The speaker emphasizes the importance of the relationship between columns and walls in modern architecture. They mention the concept of the domino frame as introduced by Le Corbusier, which challenges traditional masonry approaches and showcases a new tectonic expression in architecture.

3. **Delay and Historiography**: A unique aspect introduced in the discussion is the concept of delay in architectural historiography, where the relationship between engineering practices and architectural design evolves over time. The speaker proposes that this delay indicates a non-simultaneous appreciation of technology and architectural advances, thereby creating a critical perspective on modernist notions of synchronous progress in architecture.

4. **Contemporary Architectural Practice**: The video discusses the shift in architectural practices and education, critiquing the commodification and spectacularization of architecture in contemporary times. The speaker calls attention to how the current industry-focused approach in architectural education has led to the neglect of historical and theoretical foundations.

5. **Contributions to Architectural Theory**: The speaker aims to fill gaps in the existing literature on modern architecture by exploring the differing contributions of architects like Mies van der Rohe and Le Corbusier in relation to the domino frame. They highlight the temporal discrepancies in their works to provide new insights into the influence and evolution of architectural concepts over time.

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Here are some key quotes from the video , focusing on the central themes and ideas expressed throughout the passage:

1. **On Personal Interest and Research:**
- "It was a process of research and also personal interest."
- "My interest in both these architects were very clear."

2. **Philosophical Inquiry into Technology:**
- "I came across the question of technology, more philosophically... how technology has informed modern architecture."

3. **Influence of Architectural Figures:**
- "It became quite interesting to me... I got almost shocked to look at ESS plants, especially the Barcelona Pavilion."

4. **Tectonics and Architectural Elements:**
- "The tectonics of column and wall... to notice that the plan is organized with a module."
- "It questioned the dominant construction role of the masonry world in architecture."

5. **Historiography of Architecture:**
- "The dimension of historiography of architecture has to do with this notion of delay."
- “If you look at rest of the modern architects, all of them were aware of using steel structure, but none articulated and conceptualized as Cent local busier did.”

6. **Critical Perspectives on Modernism:**
- "The early modernist notion of zeitgeist... follow certain spirit."
- “There was a delay in that work of engineers and architects.”

7. **Impact on Contemporary Architecture:**
- "In contemporary architecture, the structural issues are more complex thanks to development of science and engineering."
- "The frame still is there, even though it is covered by flamboyant surface articulations."

8. **Critique of Architectural Education:**
- "What is happening at schools of architecture today is unfortunate... history theory is not being founded almost."

9. **Contributions to Architectural Literature:**
- "What my book contributes to the existing literature... is that I use this motion of the non-simultaneous creation."

10. **Temporal Discrepancies in Architectural Approaches:**
- "I call... early on wall and early on column to show this temporal discrepancy between their approaches."

These quotes encapsulate the speaker's journey of exploration in architecture, the philosophical inquiries they encountered, the impact of notable architects, and the critical perspectives they have regarding architectural history and education.

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Here are some related works:

1. **The Impact of Technology on Modern Architecture**: Exploring how advancements in technology have shaped contemporary architectural practices and philosophies.

2. **The Legacy of Mies van der Rohe**: An in-depth analysis of Mies van der Rohe's contributions to modern architecture, focusing on his use of space, materials, and the concept of the 'free plan'.

3. **Architectural Historiography and its Evolution**: Discussing the development of architectural historiography and how different eras have influenced the interpretation of architectural history.

4. **The Role of Columns and Walls in Architecture**: A study tracing the historical and theoretical significance of columns and walls in the formation of architectural styles from ancient to modern times.

5. **Comparative Analysis of Modern Architects**: An examination of the works of different modern architects and their unique contributions to architectural theory and practice.

6. **Cultural Influences on Architectural Design**: Investigating how various cultural movements and philosophies have impacted architectural styles and frameworks across different regions.

7. **Deconstructionism in Architecture**: An exploration of how deconstructionist theories have influenced modern architectural practice and the interpretation of space.

8. **Sustainability and Modern Architecture**: Discussing the current trends in architecture that integrate sustainable practices and how they relate back to earlier modernist principles.

If you are looking for specific articles, consider searching academic databases like JSTOR, Google Scholar, or architectural journals that publish contemporary discussions on architectural theory and history.

X-TIMESTAMP-MAP:LOCAL=00:00:00.000,MPEGTS=900000

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It was a process of research

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and also personal interest.

00:06.745 --> 00:09.925
Uh, starting first, even when I was

00:10.685 --> 00:14.205
graduate student back in Iran, my interest in,

00:14.835 --> 00:17.605
both these architects were very clear.

00:18.305 --> 00:22.645
And even in back then in Iran,

00:23.305 --> 00:26.765
in addition to Frank Lloyd Wright.

00:27.225 --> 00:31.245
It was these two figures that we will get to

00:32.485 --> 00:36.675
understand what is modern architecture about.

00:37.735 --> 00:41.635
Uh, when, I was in the process of PhD

00:42.535 --> 00:47.155
degree at University of Pennsylvania, I came across

00:47.255 --> 00:51.795
to the question of technology, more the philosophically,

00:52.665 --> 00:57.445
for example, the writings of, Martin Heider

00:58.185 --> 01:00.485
and also Walter Benin.

01:01.145 --> 01:04.605
Uh, so, that, prompt

01:05.425 --> 01:09.405
to look into how technology has informed

01:10.065 --> 01:11.525
modern architecture.

01:12.585 --> 01:17.285
Uh, well, obviously, whoever makes this kind of,

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search you will come up

01:21.085 --> 01:23.685
with a local domino frame.

01:24.345 --> 01:25.645
Uh, that,

01:26.485 --> 01:30.105
he also talks about it in his famous book towards a new

01:30.105 --> 01:33.985
architecture, which has been taught undergraduate,

01:34.415 --> 01:38.065
even graduate level at different universities,

01:38.245 --> 01:39.625
across the world.

01:40.405 --> 01:44.865
So, that became, quite interesting

01:44.925 --> 01:47.585
to me in, late eighties,

01:47.785 --> 01:51.745
I think there was a huge exhibition on Miss Vanover

01:52.645 --> 01:56.765
at the Museum of a Modern Art, with models

01:57.185 --> 01:59.485
and drawings over there.

01:59.885 --> 02:03.325
I got almost shocked to look at

02:04.265 --> 02:09.205
ESS plants, especially the, Barcelona Pavilion,

02:09.865 --> 02:13.605
and my own obs observation.

02:13.835 --> 02:18.485
Then that later on became this whole idea

02:18.545 --> 02:20.685
of the tectonics of column

02:20.785 --> 02:25.765
and wall in my most writings, was to

02:26.385 --> 02:30.365
notice that the plan is organized,

02:30.395 --> 02:35.165
with a module that there's a glass, kind of,

02:35.375 --> 02:39.845
horizontal looking wall and two columns in front of it.

02:40.435 --> 02:44.695
And the plan is organized by rotating this around there.

02:45.585 --> 02:49.485
And therefore, for me, became interesting

02:50.105 --> 02:54.445
to look at these two architects in terms of their approach

02:55.065 --> 02:57.965
to, frame and

02:59.115 --> 03:01.165
Also, reading.

03:01.935 --> 03:06.885
Other architects like Peter Eisman has written a very,

03:07.875 --> 03:12.805
interesting essay about, domino Fran, both as a concept,

03:13.185 --> 03:15.925
but also as a modern phenomenon.

03:16.385 --> 03:20.725
Uh, but I was more into it to see how this frame

03:21.465 --> 03:25.285
in both these architects introduced.

03:25.615 --> 03:30.525
First of all, it questioned the dominant co construction,

03:31.185 --> 03:35.805
role of the masonry world in architecture,

03:36.425 --> 03:41.285
and then, how it creates a new tectonic

03:41.395 --> 03:43.365
between column and vault.

03:43.835 --> 03:45.005
However, column

03:45.105 --> 03:49.805
and vault has been part of the, architecture

03:50.325 --> 03:52.605
practice and theories of architecture.

03:52.985 --> 03:57.445
If you look, at the Greek, temples,

03:57.825 --> 04:02.165
we can see a row of culture enclosing the space,

04:02.665 --> 04:07.165
and then inside there is a masonry, cell.

04:07.625 --> 04:11.005
So there was this dialogue between, column

04:11.305 --> 04:13.245
and wall already there,

04:13.665 --> 04:17.445
but it became formulated by l Batista

04:18.025 --> 04:22.165
ti the Renaissance architect, who considered Colin

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as a ornament per se.

04:26.565 --> 04:31.225
So, and then we can see in his, v

04:32.135 --> 04:36.705
plot, Rochelle, that, the surface of the

04:37.325 --> 04:40.625
facade is, inscribed

04:41.085 --> 04:43.865
by column looking elements.

04:44.485 --> 04:48.135
Uh, but it came to us mostly

04:48.515 --> 04:50.815
as a modern architects

04:50.815 --> 04:54.985
and scholars through Gideon's book on

04:55.985 --> 05:00.865
concrete and exploring the impact of the

05:01.485 --> 05:04.345
industrialization in the work of engineering

05:04.885 --> 05:06.825
and the new concept of space

05:07.285 --> 05:11.995
and structure with this in mind.

05:12.425 --> 05:14.755
Then the other issue of,

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that I have introduced in the book,

05:18.685 --> 05:22.555
which is I think unique, is the dimension

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of historiography of architecture.

05:25.895 --> 05:30.155
And, and that dimension of historiography has to do

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with this notion of delay.

05:33.855 --> 05:37.235
The, this, delay, for example,

05:37.825 --> 05:41.795
already existed there between the work of engineering

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and architects in terms of the, appreciating

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the, the position of the column and world in architecture

05:52.695 --> 05:56.875
or in a modern architecture, how to use industrial materials

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and techniques and formulate a new, architecture.

06:01.335 --> 06:06.125
There was this delay, in that work,

06:06.125 --> 06:09.645
work of engineers and, architects.

06:10.105 --> 06:13.325
But for me, this delay became more like a

06:13.885 --> 06:18.045
critical historiography to resist

06:18.865 --> 06:23.325
the early modernist notion of zeitgeist that

06:23.985 --> 06:28.925
the entire, architecture of a period,

06:29.865 --> 06:33.605
follow certain spirit spirituality

06:34.105 --> 06:38.125
or certain, positions about these issues.

06:38.785 --> 06:43.325
Uh, whereas, later on through the work of,

06:43.325 --> 06:47.765
Walter Benjamin on technology, I came to

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this notion that, temporality

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is not, appreciated by the same people living

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in an particular epoch or time.

07:02.565 --> 07:06.395
There was this idea of the, delay

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and, non simultaneous,

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appropriation of technology, in,

07:17.515 --> 07:21.775
in practice, but also then for me, became a,

07:21.975 --> 07:24.455
a histori graphic, concept.

07:24.795 --> 07:27.815
Uh, because if you look at rest of the,

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modern architects, all of them were aware of the,

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using steel structure,

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but, none of them articulated

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and conceptualize as, cent local busier did.

07:43.315 --> 07:45.575
The comparison between,

07:46.505 --> 07:51.055
local bus domino frame is a conceptual phenomena

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because it can be that five points of architecture,

07:55.035 --> 07:59.855
and that was so important that even today in the age

07:59.855 --> 08:03.415
of digital reproducibility architecture,

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the frame still is there, even though,

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it is covered by flamboyant surface articulations.

08:13.075 --> 08:17.175
But beneath that, still, there is this, notion

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of the, frame.

08:19.435 --> 08:23.095
But what is changed is that in contemporary architecture,

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the structural issues are more complex, thanks

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to development of science

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and engineering, that at the time of

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luzi was not available,

08:34.755 --> 08:39.655
but lu's four points, particularly the,

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free facade,

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and, free plan, to take these two,

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it became something,

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that mistook it in a completely different way.

08:54.235 --> 08:57.315
Uh, for example, if you look at the villa

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or, pavilion,

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Barcelona Pavilion, you would see that the, open plant,

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they there is totally different, connotations

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or in Bri brick country house.

09:14.375 --> 09:18.825
Then there, there is a different way of open plan than

09:19.365 --> 09:22.265
in local, villas

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or, other villas that he designed.

09:25.685 --> 09:29.905
And another thing that it was very buan, so to speak, is

09:30.055 --> 09:34.985
that, he, he used this, domino,

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domino frame, to give an orientation to the building.

09:40.645 --> 09:45.465
That's why in most of his buildings, it's a linear,

09:45.515 --> 09:50.265
shape in the, in the, the building

09:50.735 --> 09:53.345
that it comes with the possibility.

09:53.965 --> 09:58.745
And somehow the Heisman has, discussed these two,

09:58.855 --> 10:02.545
that the, the way the, that columns

10:03.255 --> 10:07.665
sets back from the slab, it's in two different ways.

10:08.085 --> 10:09.345
So the,

10:10.445 --> 10:14.185
domino could be extended in one direction, infin

10:14.845 --> 10:16.265
not on both directions.

10:16.845 --> 10:21.465
Uh, this was something that was not an issue for,

10:22.535 --> 10:25.995
for me, because, means,

10:26.135 --> 10:30.155
and this is one of my contributions also in the book, is

10:30.155 --> 10:34.085
that how to characterize historiography

10:34.755 --> 10:38.965
histori graphically, these two architects different from

10:39.075 --> 10:42.755
what has been discussed in,

10:43.155 --> 10:47.195
numerous books about these two in the published, books

10:47.295 --> 10:49.955
and scholarly, essays.

10:50.435 --> 10:52.755
I introduced this notion of d

10:52.895 --> 10:57.835
and re territorial, which I took it from,

10:59.205 --> 11:00.385
philosopher.

11:00.645 --> 11:03.545
My proposition was that, whereas

11:04.645 --> 11:08.585
me was de territorializing that culture

11:08.725 --> 11:13.185
of humanism, problematizing its continuity

11:13.815 --> 11:18.345
towards what he wanted called, almost nothing,

11:19.285 --> 11:22.065
which I can explain what did he mean?

11:22.215 --> 11:26.735
Whereas looker, busia, creativity was

11:26.995 --> 11:31.535
to make possibility of that culture to develop,

11:32.155 --> 11:36.415
but in more abstract sense that even today in digital,

11:37.195 --> 11:39.055
architecture, they are using,

11:39.565 --> 11:43.055
this is a major differences between these two

11:43.945 --> 11:48.895
architects contribution to the notion of domino frame

11:49.515 --> 11:51.975
or frame as a concept,

11:52.195 --> 11:55.965
and in regard to the, their own work,

11:56.385 --> 12:00.805
but also in regard to the future of, architecture.

12:00.805 --> 12:05.005
That's why, if you consider

12:05.665 --> 12:10.365
ads late ads Postmodernist,

12:10.445 --> 12:15.085
architecture, they were all very critical on mis basically

12:15.355 --> 12:20.085
because the mis put modern architecture in a position

12:20.395 --> 12:24.245
that nobody could do anything beyond what he was proposing.

12:24.435 --> 12:27.725
Like the whole notion of their, high rise building

12:27.945 --> 12:32.525
or towers still his, language of steel

12:32.585 --> 12:37.285
and glass is dominant except, with different,

12:37.485 --> 12:39.845
articulation from postmodern

12:40.555 --> 12:44.245
postmodernist simulation of historical forms

12:44.665 --> 12:48.565
to the current digital, simulation

12:48.705 --> 12:51.805
of the different playful play,

12:53.315 --> 12:54.805
playful surfaces.

12:54.915 --> 12:57.925
What is happening at schools of architecture today

12:58.585 --> 13:00.245
is unfortunate situation

13:00.675 --> 13:05.325
because of the introduction of this notion of industry,

13:06.305 --> 13:10.805
instead of what we used to call architects

13:10.805 --> 13:15.215
as a professional, there's a big differences in this.

13:15.955 --> 13:19.495
And, what this industry now means

13:19.495 --> 13:22.735
that if there is a research funding in,

13:22.755 --> 13:24.695
if there is in any schools

13:24.795 --> 13:29.415
or institutions, it has to be connected to industry.

13:30.755 --> 13:35.575
So this means that history theory is not being,

13:36.235 --> 13:37.855
founded almost.

13:38.715 --> 13:41.095
And, my book tries

13:41.395 --> 13:43.895
to emphasize on the importance

13:44.435 --> 13:49.095
of architectural history, both in terms

13:49.195 --> 13:54.065
of the, rewriting the history

13:54.125 --> 13:58.145
of modern architecture based on this new issue

13:58.165 --> 13:59.425
of temporality.

14:00.005 --> 14:04.385
Now simultaneous appreciation of, time,

14:05.085 --> 14:09.945
but also in regard as a critique of contemporarily

14:10.405 --> 14:11.505
of architecture

14:11.815 --> 14:15.465
that aesthetically is becoming more commodified

14:15.885 --> 14:19.425
and spectacular, objects.

14:19.765 --> 14:21.505
So that's about the research.

14:22.005 --> 14:23.105
Uh,

14:24.175 --> 14:29.035
but what, people, readers can take out of this book,

14:29.495 --> 14:30.995
of course, is different.

14:31.495 --> 14:33.155
Uh, it depends to their background.

14:34.205 --> 14:37.875
Where are they coming from, of course, there is,

14:38.505 --> 14:41.435
good information about these two architects,

14:43.545 --> 14:45.365
in, in the book.

14:45.785 --> 14:49.605
But what it, again, my book to me

14:50.315 --> 14:54.705
does contribute to the existing literature is that

14:56.615 --> 15:01.375
I use this motion of the non simul in

15:02.095 --> 15:03.775
creation of mis

15:04.395 --> 15:08.305
and local ing in terms of delay issue.

15:08.895 --> 15:12.465
Like the, if you look at, when

15:13.135 --> 15:16.785
Misdesigned Fran house, it was almost fifties,

15:17.255 --> 15:20.985
whereas local domino issue came in

15:21.265 --> 15:22.425
twenties as such.

15:22.735 --> 15:26.505
Then if you look at me's work, when he turned to Mason,

15:26.735 --> 15:30.705
real concrete, buildings, local

15:31.445 --> 15:34.145
was doing, something different.

15:34.645 --> 15:38.505
So this delay in both, in the chapters

15:38.505 --> 15:40.425
of the book I call,

15:41.645 --> 15:43.505
earlys on Wall

15:43.765 --> 15:47.945
and Earlys on column to show this

15:48.575 --> 15:51.545
discrepancy, temporal discrepancy

15:52.095 --> 15:56.545
between their approaches to the tectonics of column

15:56.605 --> 15:56.985
and wall.

00:00 - It was a process of research and also personal interest. starting first, even when I was graduate student back in Iran, my interest in, both these architects were very clear. And even in back then in Iran,

00:23 - in addition to Frank Lloyd Wright. It was these two figures that we will get to understand what is modern architecture about. when, I was in the process of PhD degree at University of Pennsylvania, I came across to the question of technology, more the philosophically, for example, the writings of, Martin Heider and also Walter Benin. so, that, prompt to look into how technology has informed

01:10 - modern architecture. well, obviously, whoever makes this kind of, search you will come up with a local domino frame. that, he also talks about it in his famous book towards a new architecture, which has been taught undergraduate, even graduate level at different universities, across the world. So, that became, quite interesting

01:44 - to me in, late eighties, I think there was a huge exhibition on Miss Vanover at the Museum of a Modern Art, with models and drawings over there. I got almost shocked to look at ESS plants, especially the, Barcelona Pavilion, and my own obs observation. Then that later on became this whole idea of the tectonics of column and wall in my most writings, was to

02:26 - notice that the plan is organized, with a module that there's a glass, kind of, horizontal looking wall and two columns in front of it. And the plan is organized by rotating this around there. And therefore, for me, became interesting to look at these two architects in terms of their approach to, frame and Also, reading. Other architects like Peter Eisman has written a very, interesting essay about, domino Fran, both as a concept,

03:13 - but also as a modern phenomenon. but I was more into it to see how this frame in both these architects introduced. First of all, it questioned the dominant co construction, role of the masonry world in architecture, and then, how it creates a new tectonic between column and vault. However, column and vault has been part of the, architecture practice and theories of architecture.

03:52 - If you look, at the Greek, temples, we can see a row of culture enclosing the space, and then inside there is a masonry, cell. So there was this dialogue between, column and wall already there, but it became formulated by l Batista ti the Renaissance architect, who considered Colin as a ornament per se. So, and then we can see in his, v plot, Rochelle, that, the surface of the

04:37 - facade is, inscribed by column looking elements. but it came to us mostly as a modern architects and scholars through Gideon's book on concrete and exploring the impact of the industrialization in the work of engineering and the new concept of space and structure with this in mind. Then the other issue of,

05:15 - that I have introduced in the book, which is I think unique, is the dimension of historiography of architecture. And, and that dimension of historiography has to do with this notion of delay. The, this, delay, for example, already existed there between the work of engineering and architects in terms of the, appreciating the, the position of the column and world in architecture or in a modern architecture, how to use industrial materials

05:56 - and techniques and formulate a new, architecture. There was this delay, in that work, work of engineers and, architects. But for me, this delay became more like a critical historiography to resist the early modernist notion of zeitgeist that the entire, architecture of a period, follow certain spirit spirituality or certain, positions about these issues. whereas, later on through the work of,

06:43 - Walter Benjamin on technology, I came to this notion that, temporality is not, appreciated by the same people living in an particular epoch or time. There was this idea of the, delay and, non simultaneous, appropriation of technology, in, in practice, but also then for me, became a, a histori graphic, concept. because if you look at rest of the,

07:27 - modern architects, all of them were aware of the, using steel structure, but, none of them articulated and conceptualize as, cent local busier did. The comparison between, local bus domino frame is a conceptual phenomena because it can be that five points of architecture, and that was so important that even today in the age of digital reproducibility architecture, the frame still is there, even though,

08:08 - it is covered by flamboyant surface articulations. But beneath that, still, there is this, notion of the, frame. But what is changed is that in contemporary architecture, the structural issues are more complex, thanks to development of science and engineering, that at the time of luzi was not available, but lu's four points, particularly the, free facade,

08:42 - and, free plan, to take these two, it became something, that mistook it in a completely different way. for example, if you look at the villa or, pavilion, Barcelona Pavilion, you would see that the, open plant, they there is totally different, connotations or in Bri brick country house. Then there, there is a different way of open plan than in local, villas

09:22 - or, other villas that he designed. And another thing that it was very buan, so to speak, is that, he, he used this, domino, domino frame, to give an orientation to the building. That's why in most of his buildings, it's a linear, shape in the, in the, the building that it comes with the possibility. And somehow the Heisman has, discussed these two, that the, the way the, that columns sets back from the slab, it's in two different ways.

10:08 - So the, domino could be extended in one direction, infin not on both directions. this was something that was not an issue for, for me, because, means, and this is one of my contributions also in the book, is that how to characterize historiography histori graphically, these two architects different from what has been discussed in, numerous books about these two in the published, books

10:47 - and scholarly, essays. I introduced this notion of d and re territorial, which I took it from, philosopher. My proposition was that, whereas me was de territorializing that culture of humanism, problematizing its continuity towards what he wanted called, almost nothing, which I can explain what did he mean? Whereas looker, busia, creativity was

11:26 - to make possibility of that culture to develop, but in more abstract sense that even today in digital, architecture, they are using, this is a major differences between these two architects contribution to the notion of domino frame or frame as a concept, and in regard to the, their own work, but also in regard to the future of, architecture. That's why, if you consider ads late ads Postmodernist,

12:10 - architecture, they were all very critical on mis basically because the mis put modern architecture in a position that nobody could do anything beyond what he was proposing. Like the whole notion of their, high rise building or towers still his, language of steel and glass is dominant except, with different, articulation from postmodern postmodernist simulation of historical forms to the current digital, simulation of the different playful play,

12:53 - playful surfaces. What is happening at schools of architecture today is unfortunate situation because of the introduction of this notion of industry, instead of what we used to call architects as a professional, there's a big differences in this. And, what this industry now means that if there is a research funding in, if there is in any schools or institutions, it has to be connected to industry.

13:30 - So this means that history theory is not being, founded almost. And, my book tries to emphasize on the importance of architectural history, both in terms of the, rewriting the history of modern architecture based on this new issue of temporality. Now simultaneous appreciation of, time, but also in regard as a critique of contemporarily

14:10 - of architecture that aesthetically is becoming more commodified and spectacular, objects. So that's about the research. but what, people, readers can take out of this book, of course, is different. it depends to their background. Where are they coming from, of course, there is, good information about these two architects,

14:43 - in, in the book. But what it, again, my book to me does contribute to the existing literature is that I use this motion of the non simul in creation of mis and local ing in terms of delay issue. Like the, if you look at, when Misdesigned Fran house, it was almost fifties, whereas local domino issue came in twenties as such.

15:22 - Then if you look at me's work, when he turned to Mason, real concrete, buildings, local was doing, something different. So this delay in both, in the chapters of the book I call, earlys on Wall and Earlys on column to show this discrepancy, temporal discrepancy between their approaches to the tectonics of column and wall.

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