By Iain Borden, Murray Fraser, Barbara Penner
"Forty how you can take into consideration structure" offers an creation to a few of the ways that architectural heritage and idea are being approached this day. This assortment takes in a complete of forty essays masking key matters, starting from reminiscence and background to way of life, development fabrics and town areas. in addition to severe idea, philosophy, literature and experimental layout, it refers to extra instant and topical concerns within the outfitted setting, comparable to globalisation, localism, regeneration and ecologies. The entries think about structure from more than a few perspectives. �Read more...
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Extra resources for Forty ways to think about architecture : architectural history and theory today
The contradictions and displacements concealed when the term is used are evident when we consider that, although regeneration is frequently justified in terms of fostering ‘mixed use’, ‘diverse’, ‘creative’ and ‘biodiverse’ neighbourhoods and ‘sustainable communities’, it often appears to remove precisely these qualities and activities and settled groups of people. Instead we see attempts to engineer creativity, sanitise biodiversity and disperse communities. Similarly, even within a regeneration drive that purportedly attempts to reverse decline and eliminate degradation, these conditions are often heightened, commodified or exacerbated in the process, in order to justify particular kinds of change.
The future imperfect could be the architect’s tense – and while only architects would be allowed to speak it, maybe the historian should be left to figure out the grammar and the syntax. But enough of that for now, we can go back to the comfortable security of the past perfect – ‘you have finished listening to this lecture’ – it’s over. © 2014 John Wiley & Sons Ltd 32 CHAPTER 1 How To Write About Buildings? ANDREW SAINT T he chatter about architecture goes on and on. Adrian Forty was perhaps the first person to propose that the surprise answer to the missing term in the old equation, architecture = buildings + x, was words.
The question of how you join one piece of 30 concrete to another is one of the more revealing moments in the mythological structure of concrete. With in-situ concrete, elaborate lengths are gone to to preserve the seamlessness of the whole; we have recessed joints between each lift of the shutter – as at Ernö Goldfinger’s Trellick Tower; or joints filled with lead, as at Louis Kahn’s Kimbell Museum; or at the Brion tomb, Carlo Scarpa accentuates the joint so much as to make it seem that the two sections have moved apart.