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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.

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