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page165from Nordic Architects Writes
These and others similar requirements
forced Finnish architecture in the 1950s to aim high, perhaps too high. Presumably,
observing these rules was accompanied by an internal surplus growth in reserves
of meaning and pluralism – unresolved pluralism instead of striving for
oneness. Perhaps architecture served the tasks which, in the final analysis,
the architects themselves did not require.
In
Finland in the 1950s, we were approaching an architecture that was a synthesis
of art and culture – a degree of premium form. Society viewed this sort of
building culture as foreign. Architecture proclaimed the solemn mess... more ...
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page164from Nordic Architects Writes
Firm faith and trust in people’s ability to
build reality on the basis of an inner view was characteristic in the first
decade of the twentieth century. Correspondingly, the Bauhaus in the 1920s saw
training in building design and industrial design as a synthesis of art and
technology. Thus the architecture of functionalism was born.
After
the Second World War, Finnish architecture of the 1950s was based – at least I
assume so – on the spatial concept of the Futurism of the 1910s and the object
concept of the functionalism of the 1920s. the aim was still an artistic and
technical whole.
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page163from Nordic Architects Writes
1973
Reima Pietilä
Architecture and the World of
Techno-culture
And[1]
proclaim:
1. That Futurist architecture of
calculation, of audacious temerity and of simplicity; the architecture of
reinforced concrete, of steel, glass, cardboard, textile fibre, and of all
those substitutes for wood, stone and brick that enable use of obta... more ...
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page161from Nordic Architects Writes
Nine
years ago, giving his inaugural lecture on theme “The Problem of Architectural
Form”, Professor Aulis Blomstedt ended his speech as follows:
The
development of architectural forms does not stop here. We can already see signs
of more than three-dimensional design, for example in that we try to think of
the milieu that has to be designed as a field in which changes of form also
take place in the dimension of time.
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