{"id":16773,"date":"2022-10-26T16:32:56","date_gmt":"2022-10-26T13:32:56","guid":{"rendered":"https:\/\/ajakirimaja.ee\/ulekulluse-kultuur-tupoloogiate-lopp-voi-uued-tupoloogiad\/"},"modified":"2024-03-27T14:36:39","modified_gmt":"2024-03-27T12:36:39","slug":"the-culture-of-congestion-no-more-typologies-or-new-typologies","status":"publish","type":"post","link":"https:\/\/ajakirimaja.ee\/en\/the-culture-of-congestion-no-more-typologies-or-new-typologies\/","title":{"rendered":"The Culture of Congestion: No More Typologies or New Typologies?"},"content":{"rendered":"\n
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In the last few years, several public buildings with unexpected combinations of functions have been built in Estonia due to practical reasons, and soon, a series of state houses combining a  kaleidoscopic array of institutions in smaller towns  will follow. How do these public buildings reflect our present times, and how should they?<\/strong><\/p>\n\n\n\n

The invention of backbone<\/strong><\/h2>\n

In 1978, Delirious New York by architect Rem Koolhaas was published.1<\/sup> <\/strong>The book had considerable influence on architectural thinking. Even more striking than its main title is the phrase \u201cretroactive manifesto\u201d in its subtitle. Koolhaas attended Cornell University from 1972 to 1975, studying the construction boom of 1910s Manhattan. His research and method (although the latter term might be too narrow to do justice to Koolhaas\u2019s extremely creative approach) contained a series of unusual elements. For instance, he collected his research materials by attending meetings of postcard collectors and studying caricatures published in early 20th-century newspapers. The key point, however, is not the nature of his sources, but Koolhaas\u2019s attitude and purpose.<\/p>\n

In the early 20th century, Manhattan was being built at a frantic pace. The combination of electric elevators (invented in 1880) and steel-framed construction paved the way for the development of a new typology2<\/sup><\/strong>\u2014the skyscraper. The 1916 Zoning Law in New York City established limits in building massing at certain heights, which were then used pretty much to the fullest during the Manhattan skyscraper boom. Architects accustomed to the notion that the facade of a building reflects its contents<\/strong> were confused\u2014what kind of a facade could possibly express a jumbled mix of a market, theatre, amusement park, offices, pool, garden and shops within a single building? Hugh Ferriss, who in the perceived hopelessness of the era<\/strong> had changed his profession from architect to draughtsman, drew expressive and dark charcoal drawings that visualised the maximum building massing permitted by the zoning law, and thus, he outlined the spatial fate of Manhattan. The new situation had put a draughtsman into the position of New York\u2019s chief architect.<\/p>\n\n\n\n

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In a time when architects were operating in the spirit of the Beaux-Arts, according to Koolhaas, the caricature published in the 1909 issue of Life magazine captured the essence of the skysraper: to juxtapose ‘plots’ with the infinite variety of character. Source: Delirious New York, p. 83.<\/em><\/figcaption><\/figure>\n<\/div><\/div>\n\n\n\n
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‘The Metropolis of Tomorrow”. Hugh Ferriss, 1929. The drawing visualizes the maximum construction mass allowed by the zoning law. <\/em><\/figcaption><\/figure>\n<\/div>\n<\/div>\n\n\n\n

Koolhaas set himself an almost impossibly difficult task\u2014to discover retrospectively the possibility of creating architecture in a situation where non-architectural practical factors (like the arrival of elevators and steel-framed construction, or the construction boom) are seemingly so intense and overpowering that they don\u2019t leave any room for creativity and conceptuality. What should an architect do in such a situation? How to interpret this culture, and how to create added value that people could relate to? Koolhaas succeeded\u2014he managed to outline an attitude that provided a spatial backbone and cultural sense to the construction of skyscrapers, calling it the culture of congestion<\/strong>. In the density and heterogeneity of different functions, Koolhaas found a situation essential to our contemporary world, which opens up new creative possibilities for the architect and does not necessarily lead to anti-humanistic amplification of metropolitan chaos.<\/p>\n

Koolhaas\u2019s playful and subjective way of doing research is notable. His versatile and original research means enabled a sufficiently multi-perspectival view and brought out things that could not be noticed before. What is also remarkable is his non-neutral, even speculative stance. He does not take the position of an observer and describer, but rather asks what can be done with everything he encounters\u2014is there anything with any potential for building an architectural backbone<\/strong> that would result in a viable and culturally generative approach? The stance that was shaped by New York continued to be a guiding undercurrent that can be discerned in much of Koolhaas\u2019s later architectural practice. In Koolhaas\u2019s work, the co-existence and juxtaposition of diverse functions has become a cultural indicator of our contemporary times.<\/p>\n\n\n\n

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The 1916 New York City Zoning Law imposed maximum mass and setbacks for highrises to ensure sufficient illumination on the street plane. <\/em><\/figcaption><\/figure>\n\n\n\n

Cultural foreshadowing<\/strong><\/h2>\n

The manifesto of congestion that Koolhaas addressed to the Manhattan construction boom has come to life also in early 21st-century Estonia, and also due to non-architectural factors. Just like the rise of \u201call-in-one\u201d skyscrapers in Manhattan that was driven by practical reasons and lack of concurrent theorising, buildings that are difficult to classify under any familiar architectural typology have started to appear in Estonia. The most telling examples are Suure-Jaani Health Centre<\/strong> (2019, Arhitekt Must) and Narva Study Centre of the Estonian Academy of Security Sciences<\/strong> (2020, 3+1 Architects) that draw together a prima facie surprising assortment of functions, but also the forthcoming state houses for a mix of public services<\/strong>, conceptualised by the Ministry of Finance in 2018.3<\/sup><\/strong><\/p>\n

The town of Suure-Jaani with a population of ca. 1000 wanted to build a water park, but decided to add to it several other functions that were in need of contemporary rooms. In collaboration with architect Toomas Paaver, the city government came up with the idea of bringing these functions together under one roof in the town centre, which ultimately led to the building that houses a public swimming pool and saunas, health care centre, dentistry, pharmacy, ambulance, police, cafe and hairdresser. As a matter of fact, combining public functions within a single building is a practice that has been discussed before in the context of small European settlements, given the declining population and digitalisation of services, and it has already been applied in several countries. The Estonian concept plan for state houses also refers to the experiences of Portugal, Latvia and Norway. Italy presented architecturally high-level projects with a similar idea at the 2018 Venice Architecture Biennale.<\/p>\n\n\n\n

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Suure-Jaani Health Centre. Architect Must, 2019. Photo: Kristjan Lust<\/em><\/figcaption><\/figure>\n<\/div>\n\n\n\n
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1st floor plan<\/em><\/figcaption><\/figure>\n<\/div>\n<\/div>\n\n\n\n

Even though the population of Narva is also shrinking, it does not qualify as a small town in the Estonian context just yet. A combination of public swimming pool, shooting range, seminar rooms, close combat gym and dormitory used jointly by three different organisations might sound like surrealist poetry<\/strong>, but Narva Study Centre of the Estonian Academy of Security Sciences (EASS) that houses this particular list of functions has also perfectly practical reasons for doing so. Several institutions within the administrative field of the Ministry of the Interior were in need of rooms in the eastern region. The new building was a compromise solution to compensate for the unfulfilled promise in the 2016 government coalition agreement about moving the EASS from Tallinn to Narva; at the same time, University of Tartu Narva College was lacking a dormitory, and in the 2017 municipal election, local politicians had promised to rectify the lack of a public swimming pool in Narva. The most gratifying synergy forms somewhat unexpectedly in the dormitory part of the study centre\u2014the EASS trainees are housed together with active duty border guards and rapid responders, and share the kitchen corners and leisure areas in the atrium of the dormitory.<\/p>\n\n\n\n

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The Narva Study Centre of the Estonian Academy of Security Sciences. 3+1 Architects, 2020. Photo: Maris Tomba<\/em><\/figcaption><\/figure>\n<\/div>\n\n\n\n
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1st and 2nd floor plans<\/em><\/figcaption><\/figure>\n<\/div>\n<\/div>\n\n\n\n

The first architecture competition for a state house to reach the finish line was for the one in K\u00e4rdla; the competition ended this year. A new state house for P\u00f5lva has been in planning for a couple of years, and in longer term, new ones should appear also in other small towns. On the one hand, the purpose of state houses is administrative cost efficiency; on the other hand, they aim to embody the ideal of giving citizens access to as many services in a single place as possible (making the services more accessible to people with special needs, for example) and offer civil servants possibilities for telecommuting. The competitions for state houses provide architects with good opportunities to reflect on the type of such buildings that accommodate these surrealistic lists of functions, and reflect more deeply on the essence of a contemporary public building<\/strong>. Shall we write the architectural manifesto on designing these colourfully multifunctional buildings retrospectively, or are we conscious of it already during designing?<\/p>\n

What kind of architectural approach should we take toward such multifunctional public buildings? It is untenable to proceed from some known building typology, or the notion of a plan and spatial programme supporting a particular function. Neither is it always possible to refer to the synergy created by causal connections between different functions. Right now, the combination of programmes in state houses appears to be rather random\u2014it is based on the current need for rooms for certain functions, or the administrative practicality of bringing them together under one roof. We should also note that these functions or their spatial requirements can change rather quickly (due to public sector reforms and digitalisation). To be sure, if we adopt a Koolhaasian approach, and emphasise the diversity of functions and the people using them, we can see potential for synergy<\/strong> in simply bringing people together. At first, it might seem as the sort of nihilism inherent in a society of the spectacle, but we know very well that new energy and new ideas are born at intersections of different fields<\/strong>, and I think that the kind of design that promotes this is not simply metaphoric. Even though it is merely a small beginning, the public servants working in the so-called superministry building in Tallinn have confirmed that quite a few issues with collaboration across different ministries have been anticipated and resolved in the building\u2019s cafe. And yet, how much openness toward such synthesis-oriented spaces is there in our public sector, and how to interpret democratic communication between citizens and officials spatially?<\/p>\n\n\n\n

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Winning entry of the architectural competition for K\u00e4rdla State House. Karisma Architects, 2021<\/em><\/figcaption><\/figure>\n<\/div>\n\n\n\n
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1st floor plan<\/em><\/figcaption><\/figure>\n<\/div>\n\n\n\n
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2nd floor plan<\/em><\/figcaption><\/figure>\n<\/div>\n<\/div>\n\n\n\n

Specific, often security-related requirements of governmental functions can raise a host of challenges when designing a particular building. The Police and Border Guard Board\u2014one of the users of the EASS Narva Study Centre\u2014is accustomed to relatively closed and controlled buildings, and thus, the Narva Study Centre needed to be made ramming-proof, which usually entails fencing. But the building also needed to accommodate public rooms, including an eight-track swimming pool that had been announced as an election campaign promise. We have to appreciate the brilliance of the architects in finding a visage for the building\u2014several of its looks convey openness as well as astoundingly good dialogue with the surrounding Soviet-built apartment blocks, while protection from ramming was achieved with a stepped landscape. Architects have acknowledged that they were initially baffled by its spectrum of functions, but in the end, they proceeded from the fact that most of the square metres belonged to the dormitory, and took this to be the primary function that would shape the building.4<\/sup><\/strong><\/p>\n

K\u00e4rdla state house\u2014sized a little over 1800 square metres and designed by Karisma Architects\u2014will accommodate public servants of several fields (altogether about twenty institutions). Larger rooms are designated to the Agriculture and Food Board and Health Board; other users include the Unemployment Insurance Fund and P\u00e4rnu County Court. At first glance, state houses are easily interpreted as workspaces<\/strong>. The competition objects and the very concept of a state house suggest activity-based offices, where each public servant can choose a particular workspace depending on the nature of the task at hand, and change it during the day if needed. Activity-based office is used i4n the Ministry of the Interior, for example, where it is considered rather a success.5<\/sup><\/strong> Riigi Kinnisvara AS\u2014the company that manages state real estate\u2014has initiated a collaboration with the Centre for Applied Anthropology to further develop the idea of activity-based offices and spare people from the psychologically harmful side effects of a nomadic work culture. But state houses are distinguished from office buildings by their public orientation\u2014they have to deal with questions like what does democratic space consist in, can there be more diverse forms of communication between citizens and public servants<\/strong> (just like there are more diverse forms of work in an activity-based office), and how does a state house embody the state. <\/p>\n

Are state houses and other multifunctional buildings (such as Suure-Jaani Health Centre and Narva Study Centre) the harbingers of the end of typologies, or are there still enough robust practical constraints that will end up shaping a new typology?<\/p>\n\n\n\n

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Interior view of Kultuurikatel (Tallinn Creative Hub). Renovation project from Kavakava Architects 2009-2015. Photo: Kristian Kruuser<\/em><\/figcaption><\/figure>\n\n\n\n

On the use and abuse of typologies<\/strong><\/h2>\n

The question of typology brings forth a hidden contradiction in architecture, which also happens to be the very thing that makes architecture interesting. To the extent that architecture is art, it is unique. But architecture also has a dimension of functionality, usability, which means that an architectural object has to be to some extent repeatable and thus, typologically characterisable,6<\/sup><\/strong> as Rafael Moneo\u2014the winner of Golden Lion for Lifetime Achievement at the 2021 Venice Biennale\u2014writes in his essay \u201eOn Typology\u201d. This contradiction between uniqueness and repeatability<\/strong> shouldn\u2019t be seen as schizophrenic, of course. Simply put, a building has various levels of organisation\u2014structural elements (such as doors, windows, walls, etc), logic of construction, spatial solution, relations with the environment and so forth\u2014that form a whole. Bringing these levels of organisation together in space is something that can be approached with uniqueness. Each freedom to combine things is a step toward more unique architecture. <\/p>\n

Architects have had different attitudes toward typologies in different times. Architectural typologies have been the basis of architectural education in schools, but also the object of much skepticism. When I was studying architecture in the Estonian Academy of Arts in the beginning of the century, there was a course called building typologies in the curriculum. Today, this course has disappeared from architects\u2019 timetables. Students need to design a pavilion, private residence, four public buildings and an apartment building, and introduction to the respective typologies is integrated to each project course.<\/p>\n\n\n\n

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University of Tartu Narva College. Kavakava Architects, 2012. Photo: Kaido Haagen<\/em><\/figcaption><\/figure>\n\n\n\n

Typology-based approach to architecture does not seem that interesting and fruitful today\u2014knowledge of typologies is not a good starting point for creating an architectural work. However, on the subject of typologies, it is interesting to reverse the future-oriented thinking that is so typical in architecture, and examine how typologies have transformed over time<\/strong>. In his magnificent essay \u201eFigures, Doors and Passages\u201c, Robin Evans studies how the layouts of residences have changed from the 16th century up to the 20th century.7<\/sup><\/strong> Evans\u2019s essay suggests that since floor plans have changed rather slowly, we tend to think of them rather as a pragmatic and culturally insignificant phenomenon. Looking at longer time periods, however, it becomes clear how the ground plans of residential buildings embody the mentality of their time<\/strong> and synchronise with current cultural manifestations. For instance, High Renaissance villas had a matrix-like floor plan\u2014rooms had several doors and moving around in the building meant choosing between several different possible trajectories. Space was favourable to randomness and fortuitous encounters\u2014in the literature of the time, people were mostly depicted in social settings, while solitude was uncommon. Classicism brought the triumph of the corridor\u2014buildings with single-door rooms had determinate trajectories for movement. The literature of that period warned against socialising without a particular reason, and often depicted the human soul as a solitary chamber.<\/p>\n

Evans\u2019s examples concern residential buildings (even if they often happen to be villas or palaces with many diverse users), but nevertheless manage to show that a building plan can be a Deleuzean diagram<\/strong> that guides and shapes our lives much more deeply than we initially think.<\/p>\n\n\n\n

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Fotografiska in Tallinn. Salto Architects, 2019. Photo: Kaupo Kalda<\/em><\/figcaption><\/figure>\n\n\n\n

Thinking about experientially interesting modern-day or thoroughly renovated buildings<\/strong>\u2014such as Kultuurikatel, Fotografiska, Kai Art Centre, University of Tartu Narva College\u2014it is quite clear that in addition to skilful interplay of functions, comprehensibility and readability are also important. Furthermore, equally important is the visual impact and multifaceted relatability of these buildings<\/strong>. The popularity of Kultuurikatel as a venue for conferences on digital matters has been explained by urbanist Maro\u0161 Krivy\u2014the digital field is difficult to represent, but can be alluded to with tellingly dilapidated and manifestly superseded industrial heritage.8<\/sup><\/strong> Interestingly, this figurative interpretation leads us back to the anguish of New York\u2019s architects\u2014what do the aesthetics of these buildings tell us? The form of K\u00e4rdla state house prefers to remain silent\u2014it does not comment on the nature of state and keeps a rather low profile, entering into dialogue only with the tectonics of the surrounding historical roofs. It is almost as if it has no face at all\u2014which is certainly better than presenting an artificial and implausible face\u2014but focuses only on public relations. Given the no-nonsense institutions that it accommodates, the architects of the state house say that they aimed for a maximally friendly building. This is why guests will be greeted by a spacious foyer even before they reach the security gates. K\u00e4rdla state house creates spaces with varying levels of openness toward the public<\/strong>\u2014its courtyard is turned toward the central square of the town, which in turn adjoins the market. So the spatial diversity of the state house could indeed be interpreted as one attempt to find a spatial equivalent of democracy.<\/p>\n\n\n\n

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Kai Art Centre in Tallinn. Renovation project by Kaos Architects and HGA, 2019. Photo: T\u00f5nu Tunnel<\/em><\/figcaption><\/figure>\n\n\n\n

The 20th and 21st centuries have brought immense social changes and many new issues\u2014these changes should also be reflected in the designs and typologies of public buildings. What kinds of plans, spatial solutions and typologies could reflect an increasingly egalitarian, life-long learning, globalised, hybridised, technologically advanced society? The current popularity of contextual architecture in Estonia carries a danger\u2014messages from the past can be heart-warming, but architecture should also bring messages from the future. As we go along with the pragmatic flow of everyday life, it is easy to think of it as inevitable and just bathe in it giddily. But what kind of culture will this pragmatic flow lead to\u2014what kind of culture will this mentality cultivate?<\/p>\n\n\n\n

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KAJA PAE<\/strong> is an architect and physicist, editor-in-chief of Maja since 2017(-2022).<\/p>\n\n\n\n

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HEADER: Hugh Ferress’drawing of skyscrapers, 1924. Source: MoMA
PUBLISHED: Maja 106 (autumn 2021) with main topic Spatial Revolutions<\/a><\/span><\/strong><\/p>\n\n\n\n

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1\u00a0 Rem Koolhaas, Delirious New York: A Retroactive Manifesto for Manhattan (Oxford University Press, 1978).<\/em>
2\u00a0 Building typology is the classification of buildings based on their physical parameters and uses, and the study of this classification.<\/em>
3\u00a0 \u201eRiigimajade loomise kontseptsioon\u201c, Rahandusministeerium 2018. https:\/\/www.rahandusministeerium.ee\/sites\/default\/files\/riigimajade_loomise_kontseptsioon_2018.pdf<\/em>
4\u00a0 Markus Kaasik, \u201e<\/a><\/span><\/strong>The Pragmatics and Alchemy of Contemporary Architecture<\/span>\u201c<\/a><\/span><\/strong> Interview by \u00dclar Mark, Maja no 104, spring 2021, pp 36\u201354.<\/em>
5\u00a0 Video clip \u201eSotsiaalministeerium tegevusp\u00f5hises kontoris\u201c: https:\/\/www.facebook.com\/watch\/?v=247857569305982<\/em>
6\u00a0 Raffael Moneo, \u201eOn Typology\u201c, Oppositions, no 13, summer 1978, pp 23\u20134<\/em>
7\u00a0 Robin Evans, \u201eFigures Doors and Passages\u201c, Translations from Drawing to Building and Other Essays (MIT Press, 1997), pp 55\u201391.<\/em>
8\u00a0 Maro\u0161 Kriv\u00fd, \u201cTheoretically Grounded Architecture: Where Did it Disappear?\u201d<\/a><\/span><\/strong> Interview by Kaja Pae, Maja no 100, spring 2020, pp. 17\u201318.
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