By Kallipoliti Lydia
ISBN-10: 0470746629
ISBN-13: 9780470746622
This factor of advert explores the amazing resurgence of ecological concepts in architectural mind's eye. As a symptom of a brand new sociopolitical fact inundated with environmental catastrophes, unexpected climatic alterations, garbage-packed metropolises and para-economies of non-recyclable e-waste, environmental cognizance and identical to the earth re-emerges, after the Sixties, as an inevitable cultural armature for architects now confronted with the urgency to heal an ill-managed planet that's headed in the direction of evolutionary financial disaster. at the present notwithstanding, in a global that has suffered serious lack of assets, the recent wave of ecological structure isn't really exclusively directed to the ethics of the worlds salvation, but relatively upraises as a psycho-spatial or psychological place, fuelling a truth of switch, movement and motion. Coined as ‘EcoRedux, this place differs from utopia in that it doesn't explicitly search to be correct it recognises toxins and waste as generative potentials for layout. during this feel, tasks that could look before everything sight as science-fictional usually are not a part of a international sphere, unassociated with the true, yet an extrusion of our personal geographical regions and operations. - participants comprise: Matthias Hollwich and Marc Kushner (HWKN), Fabiola López-Durán and Nikki Moore, Anthony Vidler and Mark Wigley. - Featured architects: Anna Pla Catalá, Jonathan Enns, Eva Franch-Gilabert. Mitchell Joachim (Terreform One), François Roche (R&Sie(n)), Rafi Segal, Alexandros Tsamis and Eric Vergne.
Read Online or Download EcoRedux: Design Remedies for an Ailing Planet (Architectural Design November December 2010 Vol. 80 No. 6) PDF
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Extra info for EcoRedux: Design Remedies for an Ailing Planet (Architectural Design November December 2010 Vol. 80 No. 6)
Example text
We must survey the battlegrounds of the 1950s and 1960s and the resulting lines drawn between programmers, techno-futurists and formalists – say, between John Summerson, Reyner Banham and Colin Rowe – who were the first line of defence for an architecture determined to resist the implications of ecology in favour of representation. Despite Summerson’s conclusion that ‘programme’ would be the only remaining source of unity for Modern architecture (1957), and Banham’s call for an ‘autre architecture’ (1955), their common call was for a ‘language’ that would begin to express the new ‘nature’ described by Moholy Nagy or by biophysicists; that is, a formal expression of natural knowledge rather than one that sought this language in the already clearly understood determinants of environmental balance.
For its founders, dropping had a double significance. The first meaning is literal, referring to the droppers’ sociopolitical discontent that urged them to abandon the cities and ‘drop out’. The second meaning, though, is spatial: something or someone being dropped from above, like a drip, a driblet or a splotch. The droppers envisioned their relocation in desert lands as a ‘drop’ from the sky that lands and creates a thinskinned membrane, an inhabitable environment that does nothing to disturb the ground and the milieu on which it was positioned.
Nobody was interested in pictures of new buildings. ’14 Murray also injected into ‘Cosmorama’ a further sensibility in materials that were not in use by the building industry. He firmly believed that architecture had much to learn from the technologies of other industries and, as a result, production processes involved in the making of cars, ships, spaceships, ventilation ducts, spacesuits and other types of ‘vessels’ appeared recurrently in the section’s pages. A series of proposals – ‘Snow Moulding’,15 ‘Soft Future’,16 ‘Vacuumatics’,17 ‘Foam House’,18 ‘Giant Flexible Tubes’,19 ‘Parachute House’,20 40 and so on — exemplified a novel material genealogy that became an underlying theme in ‘Cosmorama’.
EcoRedux: Design Remedies for an Ailing Planet (Architectural Design November December 2010 Vol. 80 No. 6) by Kallipoliti Lydia
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