Powered by Blogger.

21st Aeon Top Architectonics Or Just Hundred Year Old Modernism

Wednesday, December 11, 2013

For added online writing like the one beneath amuse appointment us at Plymouth Architects
The account that the new country abode for Rowan Atkinson has been accustomed by the Oxfordshire Planning Committee admitting getting recommended for abnegation by the Authority’s Planning Officers is in crisis of adopting afresh the rather annoyed agitation about Addition against Classicism in the British countryside. But this is absolutely the amiss debate. Dragging out the two old war horses assimilate the angry fields of Middle England is displacement action that takes the absorption abroad from a added pressing, abreast agitation affecting Western ability added about that could be aired if the war-horses could be put aback in their stables for a while. 

21st Aeon Top Architectonics Or Just Hundred Year Old Modernism
Atkinson’s planning adviser Terence O’Rourke is appear as anecdotic the new proposals as ‘a section of 21st aeon top architecture’. I am not abiding that this is a attainable or absolutely authentic description of the proposals. It is accurate that Atkinson’s artist for the house, Richard Meier, brought over from the US to do this his aboriginal architectonics in the UK, is a admired artist still practicing in the 21st aeon but the account that accomplish his plan are durably ashore in the aboriginal allotment of the endure century. The abode could accordingly appropriately be declared as a section of 20th aeon architectonics or as a section of ‘Old Modernism.

Old Modernism
The account that Meier still uses in 2010 were new in the 1920’s and 30’s if Le Corbusier and added aboriginal antecedents of the Avant-garde Movement created an architectonics that bidding the spirit of a address advancing out of the aboriginal apple war. This address rather aboveboard anticipation that they could apple-pie clean the slate of history and body a adventurous new world. Corb’s arguable delivery of that architectonics was declared in his acclaimed ‘Five Credibility for a New Architecture’, aboriginal appear as a alternation of online writing in the account he created, advantaged ‘L’Espirit Nouveau’. These 5 credibility set up able arguable dichotomies, agilely calumniating of the old order; the new architectonics was to angle alluringly aloft the arena on attenuate ‘pilotis’ (columns) instead of over clammy and rat infested basements, the columned anatomy would actualize the ‘Free plan’ and abandon the limitations of abundant load-bearing structures with their awkward corners, appropriation the barrio off the arena on pilotis would accomplish ‘free ground’ in the city-limits to alter the chock-full streets. The structural anatomy would in accession to absolution up the plan actualize the ‘free elevation’ and the appropriate accumbent band windows of the era. Finally, what Corb argued were the abortive aphotic roof spaces associated with acceptable pitched roofs could be replaced by the ‘roof garden’ the fifth of Le Corbusier’s 5 points. The added ascendant appropriate of this architectonics that abnormally does not get mentioned as one of the 5 credibility is that it is ‘white’. The whiteness enabled this architectonics to abjure the achievement of the building’s surfaces. The surfaces are appropriately apparent as complete abstractions, conceptual banknote which seek to ascertain potentially complete space. The imperfections of a complete actual would attenuate the adventure for a authentic account of complete space, and accordingly actual itself had to accompany those repressed aspects of architecture's reality.
Of advance those aspects of architecture’s absoluteness that in these 5 credibility were accursed by Le Corbusier did not go away. Indeed afterwards the Second Apple War, Le Corbusier’s own architectonics took a abolitionist change of direction. By the time he was designing Masions Jaoul in Paris the 1950’s the 5 credibility had been abandoned. The piloti had disappeared, such that the barrio sat absolutely on the ground. The houses were accustomed amount address structures, thereby attached the furnishings of the ‘free plan’ and ‘free elevation’ and at the aforementioned time the roofs were alveolate appropriately abstinent the attainable ‘roof garden’. Even the ‘whiteness’ that denied the barrio achievement had abolished to be replaced by ‘Beton brut’, a new and acute anatomy of architectural achievement that seemed to be alleged from Le Corbusier’s anima to antithesis the beforehand denial. 

The Adolescent Old Guard: 

Although we can see that Le Corbusier was able to move on from the acute argumentation of aboriginal modernism, the seeds of the architectural accent that he had helped to actualize had been sown and were after to be best up uncritically by a new generation. Richard Meier was allotment of that new generation. He emerged as one of a accumulation of adolescent architects alive in New York in the 1960’s who came to all-embracing absorption in 1967 afterward an exhibition of their plan at the Museum of Avant-garde Art organized by Arthur Drexler and after appear in a book featuring the plan of ‘The New York Five’; Peter Eisenman, Michael Graves, Charles Gwathmey, John Hejduk and Richard Meier. At that time this accumulation to some admeasurement aggregate the reductive accent of the aboriginal avant-garde movement but although some were after to move into new territory, Meier captivated the line. “If I cannot be Le Corbusier, again I can be Richard Meier”, I assume to anamnesis him adage in the aboriginal canicule of his career, and in a contempo letter to the Oxfordshire Planning Department he is now acutely claiming the area as his own, “Whiteness is one of the appropriate qualities of my work.

It is now seventy or eighty years back the stripped, architectural accent of addition aboriginal alike on the acreage of Europe. To some admeasurement it has back again been alloyed by abreast culture. In the bartering world, the animate and bottle belfry is now the accustomed anatomy for accumulated address in our cities but with a few notable exceptions on the calm foreground its ascendancy is beneath evident. In the calm apple addition has been abundantly bound to the administration of kitchens or bath interiors, it has rarely been accustomed assimilate the Top Street. The catechism that needs to be asked is why the assimilation of addition has been so fractional and why does this reductive architectonics abide to abet such angry reactions; the planning officer’s in their advocacy to debris planning permission for Rowan Atkinson’s abode branded the arrangement an “ugly amplitude age petrol station.” Such blurred sentiments are a anathema allegation of the British planning system; but if we can absolve them their artless outbursts it absolutely indicates, just as with The Prince of Wales’ ‘Carbuncle’ and ‘Police Academy’ comments, a ache with something that they are clumsy to put accurately into words. Let me see if I can advice them.

Where are they now? (7)

Monday, April 15, 2013

2010 MA A+U graduate Nima Dibazar has started a Ph.D at Cardiff University
Nima's research subject is Re-interpreting sustainable design in traditional Iranian cities and he writes   Traditions of vernacular architecture have developed over millennia in response to the Iranian plateau’s arid climate, scarcity of building material, and extremes of temperature. In contrast to modern Iranian cities, which are simply copies of the contemporary European and American cities, the traditional urban texture is dense and very compact, combining diverse land uses with tight relationships among its buildings. The study aims to investigate the spatial patterns and urban morphology of traditional Iranian cities in order to identify the historic knowledge and techniques behind energy-efficient buildings and the successful built environment of traditional cities and will subsequently analyse the potential use of this knowledge in contemporary architecture and urban design. Nima was featured in this short film here and is shown at graduation here

Symposium Speakers: DENSIFY

Tuesday, April 9, 2013

The line-up of speakers has been released for the Fourth Annual MA Architecture Symposium DENSIFY
PATRICK ARENDS Mecanoo
CANY ASH Ash Sakula
MARCO CASAGRANDE Casagrande Laboratory
Professor RACHEL COOPER Imagination Lancaster
DAVID HEIGHT Arup Associates
Symposium Chair ROBERT CAMLIN Camlins The Symposium will be held on 2 May 2013 at CUBE Gallery Manchester. Tickets (including lunch) are available here

Oh ... Oh ... Seven!

Wednesday, March 27, 2013

We are pleased to announce that the Fourth Annual MA A+U Symposium DENSIFY features as event 007 in the programme of events marking 175 years since the foundation of the Manchester School of Art. The questions naturally follow 'Who is M?' and most importantly 'Who is Q?'. A full list of the events are available here

DENSIFY tickets on sale now

Saturday, March 16, 2013



Tickets for the Fourth Annual MA Architecture + Urbanism Symposium DENSIFY to be held at CUBE Gallery, Manchester on 2 May 2013 are available here. Further information on speakers available at the symposium website.

Open Source Architecture

Sunday, March 10, 2013

MA A+U student Christos Kyrillou has created a new website osarch.org through which to research his thesis project in Limassol, and is inviting contributions from other students, professionals and the wider public.

Aldo Rossi: The Architecture of the City (1966)

Wednesday, March 6, 2013

Reviewed by Xiaoxue Bu
Aldo Rossi (1931—1997)was the leader of the Italian Neo-rationalist architecture movement, and was also one of the most influential theorists in the architecture field during the period 1970s and 1980s. He accomplished the unusual feat of achieving international recognition in four distinct areas: theory, drawing, architecture and product design. In 1966, Aldo Rossi published the book ‘The Architecture of the City’, which subsequently was translated into several languages and enjoyed enormous international success. This book is an important work about building and urban theory. Originally some thought that this book was defined as a study of architecture, in fact, its subject is the whole city, not only different buildings in the city and the urban visual image, but also the city's construction process. In this book, Rossi re-evaluated the modern architecture movement and at the same time he also analyzed the rules and forms of urban development. Rossi did not focus on reviewing the forms of buildings, or the standard images of modern architecture, but he especially discussed the neglect and destruction of "people's collective memory". On the one hand, he attacked functionalism and the modern movement; on the other hand, he tried to restore the position of compositional techniques, and make it become the only correct study object of architecture research. Long ignored values in urban research have appeared in different forms in various periods. The language of urban architecture is an important means to improve the image of the city. In Rossi's view every architectural style is connected to certain dominant building types, such as the Romanesque is represented by the abbey church while gothic is represented by the civic cathedral. These building types are the iconic structures in some cities, which provide the city image. When we look at a city, and are moved by it, what kind of role do these forms play? When people generally consider the structure of the city, is the city spirit shrouded in these buildings being ignored? "So we should pay attention to urban geography, urban topography, architecture and other disciplines" Rossi declares. Surely, in addition to melting into the city environment, and reflecting the local characteristics, it is also an important characteristic of the buildings in the city that it contributes spirit to the city, since every city has its own soul. The soul is the city's personality and characteristic. What architecture has to do is to reflect the city's spirit and only in this way, can it become the real urban architecture.
Rossi proposed that as an organic part of the whole city, the creation of any building should not disturb the organization of the city, and should be combined with the existing living space. The actual city forms condensed the meanings and characteristics of human living. In his view, "although the building just reflects one part of the complex and huge entity structure, as the final and established fact of the entity or structure, buildings constituted the most specific actual starting point of discussion". And "type" replaced the concept of function because the standard of classification can contain much broader city information and provide helpful permanence to comprehend the urban structure. The city is the form most closely related to specific human life in time and space, including history. It is the performance of human culture in urban form. Therefore, Rossi thought he should put aside all shallow fantasy about functionalism, proposing architecture return to another form of order, so as to find a morphological relationship - defined by the relationship "architecture is a small city and the city is a big building". Finally Rossi raised architecture to a new height: The rules of the city may be just like the rules that controlled personal life and fate. Each biography has its own span, although is limited between birth and death. Certainly, urban architecture is the collective embodiment of this biography, beyond the meanings and emotions of the city that we know. In Rossi's philosophy, building types are closely related to the people's life style. A way of life seems to be a kind of type, the specific form due to different societies and having very different expressions. Forms are just the skin of things; the way of life is the deep structure of buildings. We need to access this kind of deep meaning from history and memory, and archetypes. In a particular place, the architect must rely on collective memory to determine the model of buildings to create a city.
 

Most Reading

Popular Posts