Construction is the poetics of construction, that is, construction is the poetic expression of construction and structure. The limitation lies in paying too much attention to the unification of "representation" and "ontology" under the premise of structural rationalism. (Structural rationality means that structural members such as beams, beams and columns must bear "clear" forces, and non-load-bearing structures should also indicate their non-load-bearing. Its original intention is to enrich people's thinking perspective on space problems by thinking about the construction and structural treatment methods necessary for building space. However, due to its obsession with structural rationality, it can't do anything about the phenomenology of space, the empathy of form and the reproduction of materials.
Comparing the two, we can find that the evaluation of construction is discussed separately from construction and structure. Because of the decoration of the building, a house can show its unique characteristics visually. Perhaps this feature is contradictory to the building structure, but it has nothing to do with it. For example, it is unreasonable to imitate the wooden structure of Greek temples, and there are contradictions in the choice of materials and techniques, but the solemnity and sacredness of its architectural characteristics are beyond doubt. In the most extreme case, the possible structures, structures and constructions are obvious, but they are contradictory.
Later, some people turned to emphasize the complexity of space, the complexity of structural problems, and the construction of bearing space brought about by the diversified understanding of "ontology" and "reproduction" It is embodied in the diversity of material construction methods and art, the diversity of regional interpretation, and the fuzziness of spatial and structural mapping. One of their practices is to return to the discussion of surface decoration by Semper and others. Because in Semper's view, if space is the primary problem that architecture has to face, it is the material that wraps the space directly, not the structure behind it. Therefore, there are multiple interpretations between surface decoration and structure and space, that is, how the surface layer reflects the spatial characteristics through materials and construction methods, and at the same time, the surface layer can cover the structure without disguise, but it is not fictional. This is a multiple solution to the structural problem caused by complexity advocated by these people later. Therefore, the discussion of construction is more speculative and intellectual than simple judgment of right and wrong.
Generally speaking, architecture is probably a series of thoughts on the relationship between space, structure and structure. In this process, structure is only one aspect, not the whole, and it is not necessarily based on the rationality of structure, let alone the rationality of structure. For example, the most famous German Pavilion in Mies has a really rational structure. It seems to be pressed by steel columns, and the wall is only used as a partition. However, a lot of data show that this wall had columns when it was first built. On the issue of architecture, the tiles that seem to reflect the grid of architectural order are actually different in size. However, this does not seem to hinder the consideration of the construction problems reflected by taking the German Pavilion as an example. Therefore, it is important to think about the relationship and logical connection between these problems from time to time, instead of clinging to a certain judgment about whether the building is built or not.