H.T.

C Submission 07/01/14
Ruairi Kelly
C11366196

Monumentality in Architecture.

Monumentality in Architecture may be defined as a quality, a spiritual quality inherent in a

structure which conveys the feeling of its eternity, that it cannot be added to or changed. We
feel that uality i the Pa the o , the e og ised a hite tu al sy ol of G eek i ilizatio
(Kahn, 1944 p.455)

The context in which I am making this statement originates from my time

spent in New York this year. The city, a global monument itself, is ever
changing and developing. Buildi gs like the ear o plete Freedo
To er a d The eagra Buildi g are la d arks i The Ne York skyli e.
Their sheer size and aesthetic initiated my interests in monumentality in
architecture. However, it was only when I visited The Belgian Beguinages
did I discover a deeper meaning of monumentality.
Figure 2: The
Seagram Building
NYC Mies Van Der
Rohe

I igfried Gideo a d Josep Luis ert s pro ou e e t, Nine Points on

Mo u e tality 19 , the first point captured that realisation I felt in
Brugge that, Mo u e tsas su h, they form a link between the past and
the future Giedo , , et al (1943) p.1) Following on from this our issued
design brief employed us to learn from the lessons of the past in creating a contemporary
architecture today. It seemed that my introduction to monumentality was somewhat
superficial, taken aback by the architectural magnificence of New York City. It is considered
the normal thing of today to build without reference to our predecessors. This is what I set
out to question. Are we still practicing this essential connection between past and present?
Are we creating an architecture that can relate to the consciousness and cultures of every
period? Where did this begin and who made us aware of the importance of monumentality
in architecture.
Greek architecture mainly concerns itself with
materials in compression. Each stone element is
dependent on the other in order to avoid tensile
strengths the stone cannot endure. Similarly, the
Roman vault, the dome and the arch have made
their mark in architectural history. Through
3: The Pantheon, Rome
Romanesque, Gothic, Renaissance and today,
their ideas are still seen. They will continue to
reappear but with greater capabilities made possible by our technology and materials.
However as we embarked on the latter part of the nineteenth century these key
fundamentals are somewhat forgotten as demand for building increases and our population
is ever increasing. This, coupled with safety factor issues and the introduction of large scale
machinery led to standardization. Kahn notes in his writings on monumentality in 1944 that
a o bination of safety factors a so eti es e k o as a ig ora e fa tor Kah .
(1944) p.456)

Louis Kahn s first ajor pu lished essay discusses monumentality and

brings it to the centre of architectural discourse in 1944. This would
become a major part in the post- World War II debate on modernism
in architecture and the arts. He argued that monumentality was not a
result of size or financial means, but rather had to do with a spiritual
quality that conveyed eternity. This would be inherent in structure
4: Louis Kahn
and engagement of new modes and materials of construction. Kahn
was considered the aster of o u e tality i the U ited tates i this period (Curtis.
1996) p.518) He played a major part in the development of monumentality during the 19 th
century. In a time when commissions for monumental institutions became questionable and
the idea of creating large urban centres to accommodate post war destruction beckoned,
Kahn set out to prove a need for monumental structures.
ta da dizatio , p efa i atio , o t olled experiments and tests and specialization are not
monsters to be avoided by the delicate sensitiveness of the artist. They are merely the
modern means of controlling vast potentialities of materials for living...the artist must have
to expel fear in their use, broaden his creative instincthis o k ill the e pa t of his age
and afford delight and service to his contemporaries
(Kahn. 1944) p.461)
This awareness of monumentality is realised in many of Kahn s
Buildings. He had a deep understanding of human situations
which enabled him to avoid the shape making or geometric
orders that were so typically associated with monumental
buildings of the past, a direct and too literal reference that
many of his peers at this time had made. In the project for the
Jonas Salk Institute for Biological Sciences in San Diego,
California. Kahn had to design for a community of scientists in
concentrated research. The laboratories were open plan fitting
the needs of various different experiments. The laboratories
were linked by bridges to small studies which had views into a
garden or out towards the sea. He makes a clear distinction
between the realm of thought and shared adventure. The use of
concrete as a dominant material adds to the nobility of the
project. There is no doubt that there is a sense of monument
here, however Kahn employs modern means wherein space,
material, structure and light are all created.

5: Salk Institute for Biological

Sciences. Louis Kahn 1959-1965

6: Ground Floor Plan, Salk

Institute for Biological Sciences

Kahn succeeded in conveying his ideals in many other buildings,

in particular The National Assembly Building in Dacca. At Dacca,
Kahn drew together new and old, regional and universal, in a building of haunting presence
and magnificence (Curtis, 1996) p.526) Kahn was able to create a convincing example of

monumentality because his architectural arrangement was in that

direction and because he was sensible to the great monuments of the
past. Several of Kahn s i terpretatio s of state are oted in the
building. He links spaces of importance with different axis. For
example, the cross axis links the orientation of The Parliament
Chamber to The Prime Minister and President. Kahn
as a le to
achieve this spirit, not by copying the externals of past styles, but by
probing into their underlying principles and attempting to universalize
them in the service of modern aspirations (Curtis, 1996) p.527)

7: National Assembly

Building, Dacca 1962-75

Aerial View

What we can learn from Kahn is that he addresses the new project in
regards to past and future. Probing at the underlying lessons of the past and transforming
them into a contemporary example that employs the many tools and skills available.
The people want buildings representing their social, ceremonial, and community life. They
want their buildings to be more than a functional fulfilment. They seek expression of their
aspirations for monumentality, for joy and excitement Giedio et al, (1943) p.2)

However, it seems we have lost, or are in complete ignorance of some

of these vital ideals on monumentality today. In particular this can be
seen in the development of Dubai. A city that is now responsible for
some of the most o u e tal buildings in the world. But are these
of true monumentality? Or a manufactured image of eternity. It began
with the Burj Al Arab, the white sail-shaped tallest hotel in the world,
built on what had been sea. According to Rowan Moore, and
architectural theorist and author of Why We Build, Power and Desire
in Architecture the Burj is an attempt of a national symbol. He
8: Burj Al Arab Dubai
compares it to that of the statue of liberty, except it is aimed at a
more exclusive catchment than the latters
huddled masses (Moore, R. 2013) p.7) Moreover when we
consider The Palm Jumeirah, its audacity, graphic impact and
actual achievement, again true monumentality is being mocked.
More recently the Burj Khalifa, that opened in 2010 sits beside
the Old To
, a ra d e approximation of an historic Arab
city that had never actually
existed in Dubai. Developers
simply created these weak
attempts because they could
and the financial means were
available. There was no
9: The Palm Jumeirah, Dubai
consideration of the past, just a
complete mimic of what should
10: 'Old Town' & The Burj
have been there before.
Khalifa, Dubai

In Giedion s Nine Points on Monumentality the th point discusses how buildings have
become e pty shells. They i o ay represe t the spirit or the olle ti e feeli g of
modern times (Giedion .et al (1943) p.1-2) I feel that this is very apt for the situation Dubai
has been placed in. Part of Dubai s story as its outrageousness, and its power to subdue
obstacles. It sought opportunities to demonstrate this power: land on water, water on land,
and snow in the desert. It seems Dubai has had a victory over history, ignoring decorum and
good taste.
I do not wish to brand all contemporary architects with this ignorance to the importance of
monumentality. Many attempt and succeed in creating areas that will seem to last the test
of time.
The most vital monuments are those which express the feeling
and thinking of this collective force- the people. (Giedion, et al
1943) p.1)
This can be seen in the ongoing works at The World Trade
Centre. Although the site carries a more weighted and recent
history, the architects at work have provided space to replace
the lost business centres yet they have created a space that
responds to the feeling and thinking of the collective force as
mentioned above. It is this considered response that will stand
for generations.
I do not wish to imply that monumentality can be attained
scientifically or that the work of the architect reaches its greatest
service to humanity by his peculiar genius to guide a concept
towards monumentality. I merely defend, because I admire, the
architect who possesses the will to grow with the many angles of
our development. For such a man finds himself far ahead of his
fellow workers (Kahn. 1944) p.461)

11: World Trade Centre

There is a vital lesson to be learned from the successes and failures in monumentality. One
thing is apparent and essential to the creation of an architecture that will surpass its own
generation, the people. Monuments can only occur when the consciousness and culture of
the people are unified and brought to the fore. Kahn succeeded in The Salk Institute and The
National Assembly Building because the human interest was constantly considered. It is
therefore my intention to further my studies in the design of a community centre with
public green areas adjacent, with the hope of meeting the needs of the community and
creating an architecture that will last generations.

Bibliography
1. Monumentality , originally published in Paul Zucker (ed.), New Architecture and City
Planning: A Symposium (New York: Philosophical Library. (1944), pp.77-78
2. Moore, R. (2013) Why We Build, Power and Desire in Architecture New York: Harper
Design.
3. Curtis, J.R William (1996) On Monuments and Monumentality: Louis. I Kahn . In:
Curtis, E, ed. Modern Architecture Since 1900. New York
4. Sert, J.L, Leger, F and Giedion, S. (1943) Nine Points on Monumentality
http://www.ub.edu/escult/doctorat/html/lecturas/sert1.pdf [Accessed December 2013]

Images
1. Le Corbusier (1923) Towards an Architecture take fro Moore, R. (2013) Why We
Build, Power and Desire in Architecture New York: Harper Design.
2. The Seagram Building, http://en.wikipedia.org/wiki/Seagram_Building
3. The Pantheon Rome, http://art-now-and-then.blogspot.ie/2013/03/the-pantheon.html
4. Louis Kahn, http://niels85.wordpress.com/2012/03/11/architecture-and-film-part-2-my5.
6.

7.

8.
9.

architect-2003-the-secret-life-of-louis-kahn/
Salk Institute for Biological Sciences.
http://commons.wikimedia.org/wiki/File:Salk_Institute.jpg
Salk Institute for Biological Sciences, Ground Floor Plan,
http://images.lib.ncsu.edu/luna/servlet/detail/NCSULIB~1~1~104925~176500:Salk-Institutefor-BiologicalStudi?qvq=w4s:/who/Kahn,%20Louis%20Isidore;lc:NCSULIB~1~1,NCSULIB~2~2&mi=248&trs
=250
National Assembly Building Dacca,
http://images.lib.ncsu.edu/luna/servlet/detail/NCSULIB~1~1~104770~176103:NationalAssemblyBuilding?qvq=w4s:/who/Kahn,%20Louis%20Isidore;lc:NCSULIB~1~1,NCSULIB~2~2&mi=244&
trs=250
Burj Al Arab Dubai,
http://en.wikipedia.org/wiki/File:Burj_Al_Arab,_Dubai,_by_Joi_Ito_Dec2007.jpg
David Pearson/ Alamy Copyright. Taken from Moore, R. (2013) Why We Build, Power
and Desire in Architecture New York: Harper Design. P.8. The Palm Jumeirah, Dubai

10. Rowan Moore, Copyright. Taken from Moore, R. (2013) Why We Build, Power and
Desire in Architecture New York: Harper Design. P.13. 'Old Town' & The Burj Khalifa,
Dubai.
11. Silverstein Propeties, Inc / dbox. Taken from Moore, R. (2013) Why We Build, Power
and Desire in Architecture New York: Harper Design. P.262. World Trade Centre.