By Torsten Schmiedeknecht, Andrew Peckham, Charles Rattray
ISBN-10: 0470028378
ISBN-13: 9780470028377
Glossy eu structure has been characterized by way of a powerful undercurrent of rationalist idea. Rationalist strains goals to check this legacy by means of constructing a cross-section of latest eu structure, put in chosen nationwide contexts via critics together with ?kos Morav?nszky and Josep Maria Montaner. next interviews speak about the theoretical contributions of Giorgio Grassi and OM Ungers, and a survey of Max Dudler and De Architekten Cie.'s paintings units out a consistency at one get rid of from avant-garde spectacle or daily expediency. In Germany Rationalism bargains a thought of illustration of nation associations, whereas in other places impressive paintings finds diversified techniques to rationality in structure usually recalling canonical Modernism or the 'Rational structure' of the later postwar interval. even if obvious in styles of pondering, a specific formal repertoire, a winning consistency or exemplified in person structures, this dating informs the mature paintings of Patrick Berger, Claus en Kaan Architecten, Carlos Ferrater, Cino Zucchi or Hans Kollhoff. The constructions and tasks of a more youthful new release - Javier Garc?a Solera, GWJ Architekten AG, biq, Andrea Bassi or Beniamino Servino - current a Rationalism much less conditioned by means of a priority to advertise a unifying aesthetic. whereas usually sharing a planned economic climate of capability, or a sensual sobriety, they current a extra indirect or distanced dating with the defining paintings of the 20 th century.
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Additional resources for Rationalist Traces (Architectural Design September October 2007, Vol. 77, No. 5)
Example text
Controlled mechanical ventilation in the classrooms takes advantage of the corridors as climatic buffer zones, providing stable temperatures throughout the year and also preventing glare from direct sunlight in the teaching spaces. The structure consists of five parallel rows of concrete columns (two rows in each facade, two in each interior corridor wall and one in the centre) running the whole length of the building, their depth partly accommodating mechanical and electrical equipment, and floor-to-ceiling glazing panels between the columns in each row separate the classrooms.
Even though he broke with the Neoclassicist style around 1921, his intent to express clarity and objectivity in his buildings remained consistent. The most significant determining factor was his idea of construction or, rather, the visualisation of construction through a coherent tectonic treatment of a building’s constructive elements. In this respect Mies moved increasingly towards a conception of multifunctional space. Even if this trend is most visible in the works he designed after his emigration to the US, already buildings like his famous Barcelona Pavilion (1929) could no longer be called Functionalist architecture.
Scarcely anybody paid regard to the impulsive romantic who envisaged aspiring Gothic cathedrals, or the classicist concerned with the delicate ornamentation of his buildings. Rather, it was the reduced cubic forms of a ‘Prussian’ purity and order, emphasising structure and tectonic assembly like his Berlin masterpieces Neues Schauspielhaus (1818–21) and Altes Museum (1823–30), that attracted attention almost a century later. In particular his Bauakademie (1832–36), developed from a grid plan reminiscent of the mechanical Rationalism of JNL Durand, stood out as a model for the architecture to come.
Rationalist Traces (Architectural Design September October 2007, Vol. 77, No. 5) by Torsten Schmiedeknecht, Andrew Peckham, Charles Rattray
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