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page030from Building Ideas meaningless without the second and is apart of architecture’s lager responsibility to communicate. As he writes in thechapter on “ The Engineer’s Aesthetic”: Finally,it will be a delight to talk of ARCHITECTURE after so many grain-stores,workshops, machines and sky-scrapers. ARCHITECTURE is a thing of art, aphenomenon of the emotions, lying outside questions of construction and beyondthem. The purpose of construction is TO MAKE THINGS HOLD TOGETHER; ofarchitecture TO MOVE US.10 Art and Technology in the Origins ofModerni... more ...
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page029from Building Ideas12 Le Corbusier – Villa Savoye, Poissy,Paris, 1929-31. (Alistair Gardner) This became the dominant theme of his influential book which was highlightedearlier, and his discussion of the Villa Savoye made this notion particularlyexplicit. By designing a building that merely looked like it was made of newmaterials and at the same time bore only a formal resemblance to a modern oceanliner – without also possessing a ship’s functional rigour or technicalsophistication – Le Corbusier had, according to Banham, lapsed back into thekind of traditional symbolic langua
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page028from Building Ideas11 Brinkman and Van der Vlugt – Van NelleFactory, Rotterdam, 1927-29. (Neil Jackson)to wash! Our engineers provide for thesethings and they will be our builders.”8 Atthe same time he was also anxious to emphasise the unique contribution that thearchitect must make to the resolution of the design process, by recoveringthose abstract formal principles that had been obscured by the stylistic preoccupationsof the “academic” tradition. It was precisely this tradition, enshrined in the institutionalizedteaching of architecture in France through the influence of the Ecole des BeauxArts, that Reyner Banha
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page027from Building Ideas10 Brinkman and Vander Vlugt – Van Nelle Factory, Rotterdam, 1927-29.(Neil Jackson) In contrast to Fuller’s somewhat blindand deterministic application of new technologies in architecture, Le Corbusierwas well aware of the need to mediate between the “raw” engineering of theproblems of shelter and the shared cultural expectations of a society in needof reassurance amidst the uncertainties of historical change. For all thelatter’s rhetoric on the beauty of the great ships, aeroplanes and automobilesin the opening chapters of Towards a New Architecture, he also went on todiscuss in equivalent det
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page026from Building IdeasChicago World Exposition. The advancedaerodynamics and rear-wheel steering of the car – ineffective at high speedsdue to its loss of contact with the ground – were directly inspired by the formof an aeroplane fuselage, confirmed by the famous photograph of one of Fuller’slater prototypes of the car, parked on a runway next to his own equally curious-lookingaircraft, the amphibious Republic Seabee.5 A telling example of Fuller’s romanticdesire to make use of all the most advanced technological possibilities – evenwhere they are not necessarily required or particularly appropriate – comes inhis summary of the goals of the Dymaxion project, made in 1983, the year of hisdeath: SinceI was intent on developing a high-tech... more ...
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