Interpretations of Myth in Contemporary Architectural Writing

Locke Science Publishing Company, Inc.
INTERPRETATIONS OF MYTH IN CONTEMPORARY ARCHITECTURAL WRITING

Author(s): Iris Aravot
Source: Journal of Architectural and Planning Research, Vol. 13, No. 4 (Winter, 1996), pp.
271-290
Published by: Locke Science Publishing Company, Inc.
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Journal of Architectural and Planning Research
13:4 (Winter, 1996) 271
INTERPRETATIONS OF MYTH IN CONTEMPORARY

ARCHITECTURAL WRITING
Iris Aravot
Asserting that a word is not a naive and neutral utterance, but a value saturated tool, this paper
delves into the meaning of "myth" in contemporary architectural writing and presents three
major interpretations: (a) an error of belief; (b) a cultural given, a cosmology or symbolic fable
handed down from primordial time; (c) a contemporary narrative which legitimately influences
architectural design. Each category then includes subdivisions according to its own nature.
Following is a discussion of various examples, ranging from CA.D. to contemporary commercial
centers, from Philo of Alexandria and Vitruvius to Gaudi, from the Tabernacle of Moses to the
Taj Mahal, and from Terragni to Rem Koolhaas. The paper emphasizes the vitality and
importance of the third category of architectural myths as reconciliation between myth in a
Cassirerean sense and architecture creation. This concerns not only analogy and inspiration by
mythological content and structure, but also the application of mythical intentionality to the
design process as close to the poetic imagination described by Bachelard Finally, the position
taken in this paper may support contemporary trends of Critical Regionalism.
Copyright 1996, Locke Science Publishing Company, Inc.

Chicago, IL, USA All Rights Reserved
13:4 (Winter, 1996) 272
INTRODUCTION
This article aims at examining tbe use of "myth" in contemporary architectural

delves into professional texts in architecture for answers to questions such as: does "
one or several meanings? In which context does "myth" appear? How is it linked to a
works? Which approaches) does it support?
The decision to conduct this kind of inquiry on this specific concept is not accidenta
result of a thread of thought arising from the conviction that words are not "transpar
As Efraim Shmueli, the Israeli-American philosopher, was wont to say: "Our wor
than we realize, and we know more than our words say" (Shmueli, 1985:127-132). The
tion here is that a word is not a naive and neutral utterance, but a value saturated to
ture is no exception to this rule. The very use or abstention from use of a specific w
attitudes and activities.
For example: during the first half of this century, such words as "function", "organic
ogy", "new", "science", "analytical" (Conrads, 1970, e.g.: pp. 25, 46, 54, 59, 71, 7
common usage in architectural discourse, as compared with "symbol", "history", "fragm
"context", "preservation" - those which are currently prevalent These groups o
witnesses to the ideological preferences indicated by earlier and current architectura
Occasionally, it is necessary to modify a conceptual framework in order to remark t
words and notions. A word not commonly used in professional jargon may call
phenomena which have been relegated to the sidelines, or cast new light on accepted
Of course, new words themselves are not free of value messages. In turn, they
critical examination, and so ad infinitum.
These ideas are the first phase in the present sequence of thought The second p
sequence is directed toward architecture, asking: what are the most basic and inclusiv
of the prevailing architectural terminology?
Consideration of trends and approaches in the twentieth century points to a clear affin
"architecture" and "science", "art" and "history"; i.e. ideas, ideals and methods in arch
bear a remarkable resemblance to parallels in science, art and history. These phen
quently referred to as "architectural analogies," may result from processes in architect
and practice which adopt and adapt contents from those broader fields (Gosling
1984:40-53; Broadbent 1973:87; Collins, 1965:149-184). However, they may also re
deeper consideration, wherein architecture is seen as a synthesis of scientific, artistic a
torical components (e.g. Gropius, 1962:30-43; Broadbent 1973:73-86).'
At this (Ihird) stage we must ask: which referent embraces "science", "art", and "hist
what else does it include? Is there any connection between architecture and these oth
A possible answer to these questions is to be found in the philosophy of Ernst Cassir

who finds in science, art and history "symbolic forms," i.e., modes in which hu
impose order, constancy and meaning on the ever changing phenomena of the world
to the three symbolic forms (science, history, and art), he proposes two others, namel
religion) and language. All human culture is the product of these five symbolic form
which has equal value as regards its validity. Each symbolic form has its own un
tionality, which cannot be reduced to any other. Renunciation of any symbolic form
an impoverishment of human ability.
13:4 (Winter, 1996) 273
If we accept Cassirer' s theory on the one hand and affinities of archi

and "history", on the other, we must examine the affinities of arch
"myth". The first of these is obvious: the effect of semiotics and m
ture needs no introduction (e.g. Jencks, Bunt and Bioadbent, 19
Guillerme, 1977; Colquhoun, 1962). However, the concept of "my
has been far less studied and explored.
Therefore, this essay attempts to examine what is meant by "myth"

discourse. Its aim is to discover when "myth" is used figurativel
other symbolic forms, and particularly to reveal the unique and
mythical intentionality to architecture.
The feature central to mythical intentionality is characterized by Cas

It is the sympathy of the whole. We are in the habit of dividing our
of the practical and the theoretical ... we are prone to forget that
beneath both of them. Primitive man is not liable to such forgetf
neither merely theoretical nor merely practical ... it is sympathetic
(Cassirer, 1970:90)
Thus, the mythical perspective does not aspire to objectivity/neutra

saturated with emotional qualities. This does not override learning f
no hint of negation of rationality or of belief in the absurd. "Myth a
no means entirely incoherent, they are not bereft of sense or reason.
much more upon unity of feeling" (Cassirer, 1970:89). Most imp
civilized man it (i.e. myth) has by no means lost its original power"
Thus, it is our aim to examine whether "myth", in architectural lite

exploration of mythical intentionality, and, if not, what other intent
this term is used.
PRELIMINARY CLASSIFICATION
Our examination is restricted to contemporary architectural discourse, i.e. to what h

been consciously and propositionally stated.
The term "myth" in contemporary architectural writing has three interpretations:
an error of belief;
a cultural given; a cosmology or symbolic fable handed down from primordial tim
a contemporary narrative which legitimately influences architectural design.
Obviously, the first two meanings are not uniquely architectural.
Myth as an error of belief is diametrically opposed to scientific truth and is the resu
quate or insufficient examination of facts.
Myth as a cultural asset is primarily a subject for historical and anthropological resea
not oppose scientific truth. On the contrary, a myth is itself a fact, as is the reciproca
between myth and architecture once it has been established.
13:4 (Winter, 1996) 274
FIGURE 1. W.E.M. Mall (drawing after Blomeyer, 1988).
The third group of meanings - contemporary narratives which legitim

design - is unique to architecture.
MYTH AS A FALSE CONVICTION
Any declaration of content as myth in the sense of a false conviction aims at corre
or possible damage, be it intentional (ideological) or unintentional (naive). This p
professional's ability to approach and comprehend these matters profoundly and acc
by means of standard research processes, to prove, usually empirically, that certain
are indeed false, i.e. mythical.
Some typical examples concerning architecture are: the incorrect notion about the r
plicability of C.A.D. to architecture, resulting from insufficient understanding of t
architectural design (Weingarten, 1987); erroneous opinions concerning advant
munication systems and building controls (Sennewald, 1986); false beliefs about busi
tice aspects of architecture in the U.S., which can be refuted by simple statistical an
1985); faulty approaches to the issue of energy conservation and comfort in bui
disregard of the human factor (Sullivan, 1978).
In this group of meanings, fact refutes myth, and acceptance of fact is generally reg
efficient than insistence on myth. Sometimes, however, myth as falsehood is not r
exploded. The 1987 exhibition "Chicago Architecture 1877-1922," organized by the A
of Chicago, was intended to explode the European myth of the brave, new American
metropolis as the cradle of modern American architecture. Instead, the show reveal
13:4 (Winter, 1996) 275
tant influence of French and German ideas and training on Chicago ar

In this particular instance, myth arose from historical inaccuracy.
A completely different type of falsehood, not necessarily harmful or in

i.e. the arousal of genuine feeling and experience in artificial surr
means. In the West Edmonton Mall, Alberta, Canada, for exampl
tourists without touring, passing instantly from ancient Rome to tro
European street or diving in a yellow submarine. "Facts are somewhat
and the cliches are you startled to realize that it was a real peac
(Blomeyer, 1988:42). The description of WEM as "an autistic box" m
criticism rooted in the modernist ideals of honesty of expression, cor
and interior, etc.
Thus, according to modernist approaches, truth and falsehood (myth)

statements, but also to the architectural artifacts themselves. Rele
limited conviction is very germane to the discussion and to use of
contemporary architecture.
MYTHOLOGICAL MYTHS
The second group of definitions in architectural writing relates "myths" to mytholo

narratives culturally shared, tales of gods and heroes, the creation, origins, etc. It
classify these in four groups:
(a) architectural myths,
(b) general myths represented architecturally,
(c) general myths or cosmologies initiated by architectural artifacts, and
(d) the mythical architect.
Architectural Myths
The most common relation between "mythological" myth and architecture is etym
the origins of the classical orders as given by Vitruvius in the Ten Books on Archite
The Caryatides perpetuate the betrayal and punishment of their city Caryae, durin
War with the Persians (Morgan, 1960:6-7); the Doric order, reflecting the proporti
and beauty of the masculine body, is also an enduring monument to the victories
103). The Ionic order, inspired by the "slenderness and elegance of matrons," has s
notations, and the Corinthian order (Figure 2) tells in stone the story of the death
bride (ibid.: 104).
Thus, according to Vitruvius, these orders and myths are indivisible interweaving
content. The myths can be further decoded, as by G.L. Hersey, who revealed
sacrificial rituals and in ceremonies commemorating betrayal, enslavement, invasio
and slaughter (Hersey, 1987).
13:4 (Winter, 1996) 276
Other very important categories of the ar-

chitecture/myth interrelation concern an-
cient cosmologies, which may act as in-
dicators, and also explain artifacts as dis-
parate as a detail of a building or a whole
city. A wealth of non-European examples
can be found in William Lethaby's
renowned book Architecture , Mysticism and
Myth.
Architectural Conveyance of General

Myths
Current discussions of mythologies usually

include explanations, interpretations or
decoding of architectural artifacts according
to their mythological content. However,
sometimes an ancient myth is deliberately
adopted by a contemporary architect as the
theme of his or her work. In both cases,
architectural elements convey mythological
content, largely by means of symbolization FIGURE 2. The origins of the orders (drawing after Hersey,
1987).
(i.e. by the use of visual images or words
which recall in the observer the original
myth; in contradiction, for instance, to application of a structural parallel, which would probably
never produce any mythical association in the layman).
A famous example is the Casa Batilo by Antonio Gaudi, built in Barcelona in 1904-1906, and
representing the myth of St. George, the patron saint of Barcelona (Figure 3). The dragon, so it
is told, ravaged Catalonia till it was slain by St. George. Gaudi depicted the whole story on the
facade of Casa Batilo: bones and skeletons of martyrs on the lower facade, death masks on the
upper facade, and the dragon and the knight's armor on the roof. It may be assumed that for
Gaudi' s generation the narrative of St. George was a living myth, so that quite abstract symbols
sufficed to convey his intention.6
Myths or Cosmologies Initiated by Architectural Artifacts
Myths may precede architectural artifacts chronologically and provide their theme, but the op-
posite is also possible, and architectural compositions may function as generators, models or
symbols for a general myth or cosmology.
The most prominent example of an architectural artifact generating a cosmology is probably the
Tabernacle of Moses as described in the Bible (Figure 4). Originally sacrosanct and considered
as the mythical archetype of the later First and Second Temples, it was interpreted by Philo of
Alexandria as an intellectual model of a philosophical universe (van Pelt, 1983). It was also
adopted by a number of Christian philosophers and further interpreted as microcosm and macro-
cosm, the relation between the earthly and the heavenly church, or even the superiority of Chris-
tianity over Judaism (ibid.: 12-13). Whether the model was used as a metaphor or seen as a
codified description of universal reality remains an open question.
13:4 (Winter, 1996) 277
Finally, van Pelt also shows t

paradigmatic importance of
Tabernacle to the developmen
European religious architect
(ibid.:14), thus extending t
myth/architecture continuum
most to the present day.
The Taj Mahal (Figure 5) prese

a very different and salient
ample of a general myth created
an architectural artifact Freque
ly praised as "the most beaut
building in the world," the Taj
originally intended to arouse
thusiasm and admiration in the
spectator. Due to its populariza-
tion in Europe during the Romantic
era, and as the last resting place of
M um taz Mahal, Shah Jahan's
favorite wife, the Taj gave rise to
the myth of perfect love between
man and wife (Begley, 1979).
Other romantic fabrications con-
cerning the Shah's devotion and
grief proliferated, in spite of and
without reference to the original
aim and meaning of the monument.
However, contemporary accounts,
as cited in the same article, portray
the Shah as an arrogant, petty, and
ruthless man, obsessed with power,
and with an unrestricted sexual ap-
petite. A thorough reading of the
Taj complex, from the inscriptions
from the Koran on its walls to the
FIGURE 3. Casa Batilo by Antonio Gaudi, Barcelona,
general 1904.
organization of the layout,
brought Wayne E. Begley to the
conclusion that "the Taj seems less a romantic symbol of devotion than a vainglorious, yet
profound, attempt to define God in Shah Jahan's own terms, perhaps even to rival Him"
(ibid.: 35).
Historical facts do not, however, modify the myth of love conveyed by the splendor of the Taj,
because, as Cassirer emphasized, a myth can be living or dead, but never true or false.
The Taj Mahal thus exemplifies a very complex relation between myth and architecture. While
the monument's composition and articulation were inspired by Islamic mysticism, the building
itself, transferred to a European context, initiated a second mythology of Romantic love.
13:4 (Winter, 1996) 278
The Mythical Architect
Not only architectural creation, but the

creator himself is reflected in the
mythological mirror. Daedalus, for instance,
is the prototype of the mythical, pre-classi-
cal architect, the wonderful craftsman, pos-
sessed of "metis" and employing his gifts to
rival primordial divine order (Figure 6).
In later generations, the classical architect

became associated with the true knowledge
of mathematics, but the magical and sacred
elements of his woik were always present,
disappearing completely only with moder-
nity (Perez-Gomez, 1985).
This extremely short review must suffice

for the present to hint at the rich and com-
plex relationships between myth, mythology
and architecture, though apart from its con-
tribution to knowledge as such, research
into "mythological" myths sometimes
FIGURE
provides themes for contemporary 4. The tabernacle of Moses (drawing after van Pelt,
creative
realization. 1983).
An example of this is the residential project "Kennedy House" by the American L. M. Duncan
(Duncan, 1991), which the architect derived from the myth of Aeneas and his search for a
homeland after the destruction of Troy. In this project, mythical protagonists such as the river
Lethe, inhabited by those who create poetry, music and literature, and Aeneas' father, Anchises,
who explains the original plan of Creation as based on the four primary elements earth, air, fire
and water, influenced the brief and the form of the house. Apparently, the clients were fully
aware of and participated in the use of the myth in a process wherein "the beauty in narrating a
story is that it requires both teller and reader to participate" (Duncan, 1991:149).
Another example is the Parque Tezozomoc (Figure 7) in Mexico City (Schjetnam, 1984). Lo-
cated in the midst of the densely populated northwest area of the city, immersed in an alienating
reality of factories and poverty, the park is conceived as providing "a place to flash dreams," a
re-connection with the ancient Aztec history and mythology. Landscape architects reconstructed
the topography of the valley and the lakes as they were in pre-Hispanic times, with birds and
vegetation re-evoking the richness and beauty of the past. Hints and subtle symbolization did
not, however, suffice. Since the Aztec mythology was no longer a vital part of popular cultural
heritage, it was necessary to actually inscribe the myths on black obelisks and to mark the loca-
tions of Aztec settlements. Ritual dances by "concheros" - Aztec dancers - in the lookout
plaza revitalized the texts (ibid.'.ll).
These are, briefly, the first two classes of affinity between myth and architecture. The third group
of architectural myths has had an even greater influence on actual design.
13:4 (Winter, 1996; 279
FIGURE 5. The Taj Mahal (drawing after Begley, 1979).
DESIGN DIRECTED NARRATIVE MYTH7
This third group of myths in contemporary architectural discourse

powerful imaginative creations intended to reach beyond the scienti
include recommended concepts and forms, resulting in representatio
graphical counterparts, e.g. recent work by Kiko Mozuna and the co
The architecture of Kiko Mozuna, his Kushiro Marshland Museum, o

makes extensive use of the mythic images of ancient Japan. "His inte
is rather psychological as well as cosmogenic, while he attributes
each symbolic object." In his later work, however, he goes furth
capacities by "pursuing the metaphysical aspects of trees and forest
power to lead the new conception of architecture" (Miyake, 1987:7-9
Lebeus Woods (Woods, 1984) devoted a whole decade to the pra

reading Jung, Freud, Einstein, Yeats and Lawrence, and then set out
principles of design for an architecture of humanism could be const
premise, according to Woods, is a brave self consciousness, totally op
descent into historicism, sentimentality, and nostalgia. His myth
13:4 (Winter, 1996) 280
cosmology, wherein Man and Cul-

ture are in perpetual movement be-
tween four cities or existential con-
ditions: the City of Earth (dawn,
birth, spring, intuition, socialistic...)
(Figure 8), the City of Fire (noon,
youth, summer, ascent, heroic
balance, poetry, aristocratic..), the
City of Air (dusk, maturity,
autumn, artificial, abstract, in-
dividual, capitalistic...) and the
City of Water (midnight, old age,
winter, descent, prose,
bureaucratic...).
Woods' cities recall some of Italo

Calvino' s Invisible Cities and
Marco Polo's deceitful accounts to
the rational Kubla Khan (Calvino,
1974). Calvino's book is extreme-
ly relevant as a reservoir of designFIGURE 6. The myth of Daedalus (drawing after Perez-Gomez, 1985).
directive narratives, for it raises
basic existential situations within
three dimensional, extensively
^'(So^
elaborated surroundings.
It may well be possible that myths

as directive narratives have been
used to a greater extent than has
been acknowledged. Since in such
cases the communication of the
mythical contents is not sought, the
EcatejgrA M-
use of conventionalized symbols is ./LTTa ' Tutee*
omitted. It is, therefore, only when
the architect chooses to reveal his
or her inner creative life that the i). - J n. - * A
link is established. oya-4 - - VW11*1" - J
The best example is probably the

Danteum by Terragni. This unbuilt
VixijijiUf#. ' /-v
project was intended to be "a
temple to the greatest of Italian
poets" as well as a symbol of
Dante's political aspirations for
Italy (Schumacher, 1985:20). Its
mythical directive narrative was
the Divine Comedy, Dante
Alighieri' s account of his journey
through Hell, Purgatory and FIGURE 7. Parque Tezozomoc (drawing after Schjetnam, 1984).
Paradise. Fortunately, Terragni
13:4 (Winter, 1996) 281
FIGURE 8. The City of Earth (drawing after Woods, 1984).
himself left notes of his conceptions in Relazione sul Danteum (Repo

it is possible that Terragni was initially inclined toward a personificat
(Schumacher, 1985:78), he ultimately based the relationship of the Da
mathematical correspondence. He transferred the numerical division
cal elements and organization in space. Schumacher traces the paralle
Relazione and the Danteum in great detail. For the present discuss
compare Teiragni's interpretation with that of Stanley Tigerman'
Homage to Dante's Inferno of 1980, a purely metaphorical visualizatio
bathroom (Tigerman, 1989:102).
The need for a constitutive/explanatory/justifying narrative is felt n

chitect but also by the theorist and the critic.
A prominent example is Gavin Macrae-Gibson's book, The Secret Life

son, 1985). The author penetrates two strata of meaning conveyed by
porary buildings, (the literal stratum and the representational stratu
deepest stratum - the mythological. In principle, he restricts the po
tive myths to seven "great themes," such as "the presentation of per
silence", or "the new sublime".
Other examples, essentially not very different, are Alan Colquhoun's

stratum in Michael Graves' architecture and various student exercise
Colquhoun reads Graves' work as composed of two separate syste
completely independent system of meaning: "The objective condition
tive effects are now finally separated ... (the latter) acting on an ima
tory," while other projects, mainly of the mid 1970s "are associated
- rustications, grottos, cascades, ruins" (Colquhoun, 1978:18).
Antoniades, as an educator, examines the power of various literar

stimulation of work and as thanes of architecture. His students desig
Odysseus" under the influence of Homer, "Sibyl's Cave and the I
Virgil's Aeneid (Antoniades, 1990:107-119). The emphasis of poetry-m
13:4 (Winter, 1996) 282
as Antoniades believes that "students should be encouraged to read abo

their own cultural origin" (Antoniades, 1990:91).
However, the most influential design-directed narrative myth, which

status of an individual approach to attain that of a shared one, evolving
tion to a general architectural position, is the myth of Manhattanism
Rem Koolhaas and O.M.A. (TTie Office for Metropolitan Architectu
Rem Koolhaas, Madeion Vriesendorp, Elia Zenghelis and Zoe Zenghe
Although the term "myth" is rarely used in the book, it is employed b

1977:315). Furthermore, the initiation, purpose, and use of die verbal
mythical in the true sense of the word.
To quote Octavio Paz:

Myth is not a poem, nor science, nor philosophy, although it coincid
proceedings, with science in its logic and with philosophy in its amb
idea of the universe.
(Schjetnam, 1984:75)
In their later work the particular law of Manhattan was extended and
New York, eventually becoming the O.M.A.'s declared architectu
spread especially after the Deconstructivist Exhibition of summer 1988.
Rem Koolhaas and his friends investigated the lifestyle of Manhattan

about its essential nature, which they first expressed in the drawing
Globe" in 1972 (Figure 9). It was "a first intuitive approximation ... dr
... would substantiate many of its conjectures" (Koolhaas, 1977:331). Its
artificiality, isolation, coexistence of contradictions.
Collections of old postcards later suggested similarities between th

reality of Coney Island at the beginning of the century. This extende
speculations about the formation of the metropolis.
However, it was not before a wealth of historical data, some of which

teenth century, had been examined that the "particular laws" of Manha
formulated in the essay Delirious New York. These laws were not a-his
rather formed "a retroactive manifesto," i.e. the underlying principle
urban history of Manhattan.
The retroactive formulation of Manhattan's program is a polemical o
number of strategies, theorems and breakthroughs that not only gi
the city's past performance, but whose continuing validity is its
second coming of Manhattanism, this time as an explicit doctrine ...
urbanisms.
(Koolhaas, 1978:7)
Thus, the myth of Manhattan was initiated with the identification of

condition which developed at the end of the nineteenth century, first
Manhattan: congestion of people, systems and technology.
This condition gave rise to three general lifestyle characteristics of spe
13:4 (Winter, 1996) 283
FIGURE 9. The City of the Captive Globe (drawing after Koolhaas, 19
(I) Technology as a superior substitute for Nature;

(IT) Continuous multiplication and rearrangement of functions and p
the three dimensional repetitive pattern enabled by the skyscraper; an
(IH) Imposition of metaphoric models that offer "islands" of emoti
Principle (I) was first embodied in Coney Island as, for example, by
night bathing on the beach by artificial light Principle (II) was t
York urban grid, the invention of the elevator (and its presentation
and the urge to use interior space according to need and preference,
(Figure 10).
These two principles and the fast growing New York population that created the congestion were
thus closely linked.
The first two principles were epitomized in Manhattan by the Downtown Athletic Club, about
which Koolhaas says: "The full potential of the skyscraper as social condenser was realized
within 20 years - the skyscraper conquered, floor by floor, by higher forms of social inter-
course" (Koolhaas, 1977:323). Ultimately, Radio City Music Hall, the world of show complete
with chorus girls and sunset curtain, was the central example of Principle (III).
In the book Delirious New York, the myth gradually unfolds both verbally and graphically.11
Historical evidence attests that Manhattan, the brave new metropolis, with the Downtown Ath-
13:4 (Winter, 1996) 284
lec Club and Radio City Music

Hall as realized prototypes of the
three principles, flourished until the
forties, when a definitive change
occurred in prevailing directive
principles. As in the later writing
of Tom Wolfe (1981), Modernism
is blamed for the architectural
deficiencies of post-World War II
New Yoik. But, according to
Koolhaas, the substitution of the
architecture for a Culture of Con-
gestion by a Le Corbusier type in-
stitutionalized aesthetic occurred
due to a profound lack of courage
among the New York architects.
Nevertheless, as soon as Manhat-

tanism, both as an inevitable out-
come of historical circumstances
and as a powerful approach to fu-
ture design is recognized again, it
may be re-applied and re-exploited.
Many conceptual and practical
projects by O.M.A. experiment
with this rediscovered form of ur-
banism.
From the point of view of the

present discussion, it is important
to emphasize that Delirious New
York is an interpretation of the
reality of Manhattan, not in con-
tradiction to facts, but via the dis-
covery of a particular order in the
Heraclitic flux of the metropolis.
Unrestrained by paradigmatic dis- FIGURE 10. Multiplication of identical lots (drawing after
Koolhaas, 1978).
tinctions between the relevant and
the irrelevant, and unbiased by
professional consensus about the good, the true and the worthy, Rem Koolhaas and O.M.A. have
synthesized Manhattan's unique narrative.
The construction of the myth is logical, rather as a scientific generalization is based on empirical
research As with a scientific theory, their narrative or thesis has been able to provide an ex-
planation of the extant, as well as a directive for the yet to be accomplished. Coney Island has
been the hypothesis; New York - its ad hoc consolidation.
The process which resulted in the myth of Delirious New York is an extreme and successful
example of a search concerning large scale architectural intervention in any city: like an enor-
13:4 (Winter, 1996) 285
mous work of art, a city, at its best, has its unique integrity, its specifi
logic. When revealed, these aspects constitute the myth of the city
physical, economical and other "objective" variables as on interpretative
I propose for this the phrase "an a posteriori urban myth". "A post
planatory-directive narrative appears, both logically and chronologically,
city itself, and "myth" because, like myths created by ancient people,
values with an imaginative and conceptual order imposed on actual fact
As with prehistoric myths, it allies itself with experience, common sen

with scientific data - but imposes meaning specifically on what is still
explanation. Since there is no single, true, total comprehension of a cit
aie possible. Epistemologically, each inteipretation is neither less nor m
SUMMARY
The relationship between architecture and Cassirer' s symbolic forms is defined in this
"affinity", meaning both:
(1) Adaptation of models and/or analogies developed in other fields of knowledge and pr
e.g. the use of scientific models or artistic analogies in architecture, and
(2) Relevance of all basic interpretations of the world to architectural creation.
Since prevailing architectural terminology implies that those two modes of affinity are
and acknowledged where the symbolic forms "art", "science", "language", and "history"
cerned, the question arises as to whether a similar relationship exists between architect
"myth."
My intention has been to examine the rather infrequent use of the term "myth" in current ar-
chitectural texts and to discover whether "myth" as the fifth symbolic form (although it comes
first in Cassirer' s theory) is used as a basis for analogy and as a unique form of interpretation.
This essay shows that such affinity does, indeed, exist, though it is not very common.
The first meaning of "myth" as used in the texts might explain why the term is so infrequent. Its
association with error, inadequate information, and insufficient research emphasizes the aspects
in which "myth" is opposed to "science". This may possibly detract from the poetic and practical
aspects of "myth".
The second group of meanings, that of "mythological myths", represents affinity in the sense that
"myth" may be used (or reused) as a reservoir of analogies for architecture. But few recent
examples were found - "Kennedy house" by L. M. Duncan (1991), Parque Tezozomoc by
Grupo de Diseno Urbano (Schjetnam, 1984), some buildings by Kiko Mozuna (Miyake, 1987),
and some student works (Antoniades, 1990).
The limited application of myth as a source for architectural creation is particularly interesting in
conjunction with Postmodernism, which legitimized and popularized "tradition and choice" as
ideological preferences (Jencks, 1980:32). A more intensive appeal to local mythologies may
13:4 (Winter, 1996) 286
emerge with the trend of Critical Regionalism, as in the architecture o

Barragan (see Curtis, 1986; Frampton, 1983).
However, reconciliation between myth and architecture concerns not on

by mythological content and structure, but also the application of myt
design process.
Cassirer defined this intentionality as "sympathy of the whole" - emot

all phenomena in their uniqueness, prior to classification and reduction
types and categories. A facet of contemporary life, and vitally man
progress, mythical approach encourages free observation, unrestricted
impossible and the irrelevant. In this sense, myth, poetry, and art in ge
human capacity of creative imagination.
The same position is held by Mircea Eliade: the relevance of myth to ev

bereft of rationality, and that the origins of imagination and creativity
1973). So, while the very acquaintance with the great tales Eliade tells i
for architecture students by Antoniades (Antoniades, 1990:92), this
tribute to the re-establishment of mythical intentionality as a source of
I imagine this free, mythical imagination as close to the poetic i

Bachelard:14
... the essential newness of the poetic image poses the problem of the speaking being's
creativeness. Through this creativeness the imagining consciousness proves to be, very
simply but very purely, an origin.
(Bachelard, 1964:XX)
The poetic image has a strength of transsubjectivity; therefore it offers a contribution for other
people as much as for the creative subject.
Delirious New York seems to exemplify such imagination in relation to architectural creation. It
is based on a unity of feeling that evoked an architectural interpretation and, later, an architec-
tural approach. It does not contradict empirical experience. On the contrary, it relates to well
known phenomena. However, by means of an unbiased imagination, Koolhaas and O.M.A. "do
point clearly to the wish to trespass the boundaries of institutionalized architectural language"
(Porphyrious, 1977:358). As such, the myth of Manhattanism provides for a new and fresh
perspective.
It is exactly here that the critical and non consumable aspect of their work resides : in their
ability to portray the metropolis while at the same time challenge our visual and social
habits and trigger an awakening of consciousness.
(Porphyrious, 1977:360)
Thus, in this case, mythical intentionality actually refreshed the architectural discourse and clear-
ly cast a new light on such conventionalized concepts as metropolis, nature, and their mutual
relationships. Obviously, this attitude itself is saturated with value outlooks which may be ac-
ceptable or not, depending on the given context, in which case, other architectural approaches
may benefit from the unique capacity of the myth as an interpretation of the world.
The mythical approach, by exploring unity of feeling, can permit us to enjoy mythical poetics
while relieving us of the obligation to suffer the embarrassments of negation of scientific fact.
13:4 (Winter, 1996) 287
NOTES
1. Some prominent examples of adopted/adapted notions are: the idea of "time-space" concept (Giedion, 1
in Oppenheimer-Dean, 1983), which originated in Einstein's Theory of Relativity; L. Sullivan's and F.L. Wrig
"organic architecture" which is rooted in the biological work of Herbert Spencer (Collins, 1965:155-156); the
the ideas and values of avant-garde painting and sculpture in the '30s on Le Corbusier, Mendelsohn and O
1965:271-284); Carence Perry's "neighborhood unit" idea was clearly rooted in social ideals of community
ford, 1966:568-573); the sociological concept of "Orgman" adopted by Team Ten and especially Aldo Van Eyc
1965); Oscar Newman's term "defensible space" has socio-psychological affinities (Newman, 1972); Venturi
"complexity and contradiction" was inferred from the writings of T.S. Eliot and W. Empson (Venturi, 19
" Deconstructivism" - a prevailing trend in contemporary architectural theory and design, which emerged e
"Russian Architectural Constructivism" of the '20s and "deconstruction" - an approach to literary criticis
associated with the French philosopher Dorida (Noms, 1988).
2. The paper focuses on contemporary architectural discussion and is therefore based on a survey of cont
architectural texts (Search by Dialog, Palo Alto, California. Files searched: File 191, Art Lit Intl. (RILA
179, Architectural Database 1988; File 35, Dissertation Abstracts Online). Its intention is to reveal meanings
tions of the term "myth" as used by contemporary architectural practitioners and theoreticians. This is, of
ferent from a survey of the myth-architecture relationship, which includes a very extensive range of ph
aspects, far beyond the scope of this paper. The classification proposed herein result from correlation of the co
surveyed texts. The examples discussed represent these categories.
3. The third group of myths cannot be classified as inadequate examinations of facts since they are the o
subjective interpretations of personally selected phenomena. In this case any positivistic, scientific validati
irrelevant. On the other hand, these myths are not part of any historical shared asset conventionally ref
"mythology," though in some ways they resemble mythological myths as discussed in the third section of the p
4. For a discussion of the roots and development of this position, see: McClung WA (1981) The matter of
Journal of the Society of Architectural Historians XL/4 (December):279-288.
5. Equivalence of myth and ideology and the dmystification of political as well as architectural ideologie
Marxist and Neo-Marxist criticism and are thus beyond the scope of the present essay.
6. Whether the meaning conveyed is univalent - the myth alone - or stratified - the myth as meta
Barcelona's separatist hopes - (Jencks, 1977:117) does not affect the architectural elements which fonction a
of meaning.
7. The term "myth" in this section is used in accordance with the Cassirer text (Cassirer, 1970:89-90).
8. Chapters of Invisible Cities were applied successfully as design directed narratives in architectural teac
author. Students' work was exhibited at the Faculty of Architecture and Town Planning, Technion I.I.T. in 1992
9. It is interesting to notice that Schumacher found Cassirer relevant, coincident to the position taken in
paper. See for example his quotation on p. 94.
10. It is a restriction because there are only 7 themes, and all themes originate in only one realm, nam
philosophy of art.
11. The drawing "The City of the City Globe," for instance, preceeded its verbal formulation.
12. This refers to a phenomenon acknowledged by many architectural theorists, though at different scales and
to different issues. For example, Christopher Alexander wrote about the "magic of the city" (Alexander,
Kevin Lynch described the approach which regards cities as unique products of local, natural, and cultural char
(Lynch, 1981:Appendix A). His main examples are Mumford L (1961) The city in history, and Rasmuss
London, the unique city.
13. Obviously, there is no contradiction between "user needs" and " a posteriori urban myth." They emphas
of a wide range of issues relevant to the process of urban design.
14. Bachelard offers, of course, a fresh insight into the meaning of the house and other natural and artificial
attract poetic imagination. His book is therefore generally considered as architecturally relevant
13:4 (Winter, 1996) 288
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Additional information may be obtained by writing directly to the author at the Faculty of Ar-
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AUTOBIOGRAPHICAL SKETCH
Iris Aravot is a staff member in the Faculty of Architecture and Town Planning, Technion, I.I.T., Haifa, Israel, where she
received her B.Arch, M.Sc. in Architecture and D.Sc. in Theory of Architectural Knowledge. She studied at the A.A
Graduate School, London, and studied philosophy at the Haifa University. Current research and teaching areas includ
urban design, urban space quality, philosophical issues in architectural context.

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INTERPRETATIONS OF MYTH IN CONTEMPORARY ARCHITECTURAL WRITING

INTERPRETATIONS OF MYTH IN CONTEMPORARY

Copyright 1996, Locke Science Publishing Company, Inc.

This article aims at examining tbe use of "myth" in contemporary architectural

A possible answer to these questions is to be found in the philosophy of Ernst Cassir

If we accept Cassirer' s theory on the one hand and affinities of archi

Therefore, this essay attempts to examine what is meant by "myth"

The feature central to mythical intentionality is characterized by Cas

Thus, the mythical perspective does not aspire to objectivity/neutra

Thus, it is our aim to examine whether "myth", in architectural lite

Our examination is restricted to contemporary architectural discourse, i.e. to what h

The term "myth" in contemporary architectural writing has three interpretations:

Obviously, the first two meanings are not uniquely architectural.

FIGURE 1. W.E.M. Mall (drawing after Blomeyer, 1988).

The third group of meanings - contemporary narratives which legitim

MYTH AS A FALSE CONVICTION

tant influence of French and German ideas and training on Chicago ar

A completely different type of falsehood, not necessarily harmful or in

Thus, according to modernist approaches, truth and falsehood (myth)

The second group of definitions in architectural writing relates "myths" to mytholo

(a) architectural myths,

(b) general myths represented architecturally,

(c) general myths or cosmologies initiated by architectural artifacts, and

(d) the mythical architect.

Other very important categories of the ar-

Architectural Conveyance of General

Current discussions of mythologies usually

Myths or Cosmologies Initiated by Architectural Artifacts

Finally, van Pelt also shows t

The Taj Mahal (Figure 5) prese

The Mythical Architect

Not only architectural creation, but the

In later generations, the classical architect

This extremely short review must suffice

FIGURE 5. The Taj Mahal (drawing after Begley, 1979).

DESIGN DIRECTED NARRATIVE MYTH7

This third group of myths in contemporary architectural discourse

The architecture of Kiko Mozuna, his Kushiro Marshland Museum, o

Lebeus Woods (Woods, 1984) devoted a whole decade to the pra

cosmology, wherein Man and Cul-

Woods' cities recall some of Italo

It may well be possible that myths

The best example is probably the

FIGURE 8. The City of Earth (drawing after Woods, 1984).

himself left notes of his conceptions in Relazione sul Danteum (Repo

The need for a constitutive/explanatory/justifying narrative is felt n

A prominent example is Gavin Macrae-Gibson's book, The Secret Life

Other examples, essentially not very different, are Alan Colquhoun's

Antoniades, as an educator, examines the power of various literar

as Antoniades believes that "students should be encouraged to read abo

However, the most influential design-directed narrative myth, which

Although the term "myth" is rarely used in the book, it is employed b

To quote Octavio Paz:

Rem Koolhaas and his friends investigated the lifestyle of Manhattan

Collections of old postcards later suggested similarities between th

However, it was not before a wealth of historical data, some of which

Thus, the myth of Manhattan was initiated with the identification of

This condition gave rise to three general lifestyle characteristics of spe

FIGURE 9. The City of the Captive Globe (drawing after Koolhaas, 19

(I) Technology as a superior substitute for Nature;

lec Club and Radio City Music

Nevertheless, as soon as Manhat-

From the point of view of the