Architecture and narrative: the formation of space and cultural meaning, by Sophia Psarra

Reading aligned with lecture: Modern Urbanism: Garden city and functionalism.

Personal summary of reading pages 43-64: 

This article is a review of ideas that influenced the critical history of Mies van der Rohe’s Barcelona Pavilion, which has been variably described as ‘classical yet modern, a symbolic house, an abstract temple, a small landscape and a domestic house.’ I have personally experienced this piece of architecture and as a current Interior Architecture student I have learnt to appreciate something as beautiful as the Barcelona Pavilion and even though its been described in a universe of words and terms I think that it is an architectural gem that is highly influential to todays modern functionality.

It becomes apparent that Rohe was very, very strategic regarding the design through asymmetric, axial lines and the overall experience he intended to create. As an audience you walk up to the pavilion but are purposely made to change direction to go up some stairs to enter the grounds of the architecture; on doing so you see the pavilion from a different angle as you do on the platform, enabling you to assess and view the parallel facades. Routes around and throughout the pavilion ‘contrast between symmetry and asymmetry’ and space has appeared to be ‘sliced’ with large slabs of marble. On plan the pavilion appears very horizontal, however when inside I did not feel pushed by the parallel horizontal planes; more than anything they seemed to help guide me through the space as the planes block certain elements of the view in which you need to move around to see the experience the rest of the space.

The original pavilion was used in an exhibition of works featuring Rohe’s work. It was highly criticized but overall it was concluded that ‘ the Pavilion exemplified the characteristics of the free plan with the asymmetrical arrangement of the walls and the roof contrasting to the regularity of the structural system.’ It was also critiqued against classicism architecture that the Pavilion ‘replaced a privileged point with multiple viewing positions.’

The reconstruction of the Pavilion in 1896, that I visited in Barcelona had some purposeful choices based on materials. For the free standing partition in the interior Mies van der Rohe ‘chanced upon a large block of onyx doree’ a very rare and expensive marble. Rohe made sure that the Pavilion was twice the height of the block, a distinctive phase in the design.’ This decision snowballed into proportions and height of the building was altered in accordance to the marbles dimensions.

The article is interesting in showing the proportions and intuitive thinking behind what looks like a very simple piece of modern architecture; further more it is thought-provoking in reading different views from different critics and architects on even the minutest details. It has been highly critiqued and I believe it always be, but I see the Pavilion as inspiration as a great piece to learn a lot of design skills from.

Garden cities of to-morrow, by Ebenezer Howard Sir

Reading aligned with lecture: Le Corbusier 19/11/2014

Personal summary of reading pages 151-159: 

This book was written in 1898, a time when London was heavily slummed and overcrowded and new towns were flourishing in areas of England that were previously bare land. Advances in technology and communication allowed the producer and consumer to have a closer relation; this was predominantly because of improvements with the transport system.

Slums were being reduced and parks/orchards and woods were succeeded into lifestyle of the public for them to enjoy. It becomes apparent that people’s lifestyles were becoming gradually better. However there was an every growing dilemma as to how to improve over-crowded cites, ‘few appeared to believe that such a remedy would ever be found.’ Over crowded cities needed to be healthier, wholesome, cleaner and sounder economic conditions.

The article goes through potential options regarding how the land in London can have a monopoly price; if one fifth of England population lives in London then more people would be bidding on a small piece of land to rent. An idea is presented that if people are de magnetised from living and working in London then they could in turn safe them selves money on rent, and potentially give them selves a better lifestyle.  For example ‘families which are compelled to huddle together in a small room’ and pay extortionate rent for city dwellings ‘will be able to rent five or six.’ For this de-magnetisation to happen a wide variety of jobs needs to be offered in rural and other areas outside of London.

Moreover for London as a City to blossom in the future and thrive as a capital it will need adequate systems in place to cope with an ever-expanding population. These include: railways, sewerage, drainage, lighting, and parks. The article also states how other cities have developed; ‘slums have disappeared from Berlin since 1870; 88 acres in the Centre of Glasgow have been re modeled.’

I’ve only visited London a handful of times but from the London I do know it appears to have advanced its technologies to cope with the demand of its population as well as tourism. It was interesting to read this article from over a century ago as it enabled me to understand how London used to work and how advances in technologies have improved the quality of life.

The Brits who Built the Modern World

Reading aligned with lecture: 
   Modern form-makers: Scandinavian Design. 18/02/2015

Personal summary of video: The Brits who Built the Modern World, BBC4. http://bobnational.net/record/201388

Foster, Rogers, Grimshaw, Hopkins and Farrell were all apart of the Modernism movement through the 70's onwards which was commonly known as 'High Tech.' Development in new materials and pushing traditional design to unseen forms through engineering were some of the elements of High Tech. Many of these Architects worked/studies together but were later in life rivals of architectural competitions not just for companies but to win over the public and HRH Prince Charles to help advance Britain's architecture.

HSBC and Lloyds Banking both have grand pieces of Modern high tech architecture that represent the companies are dominant and take risks. High tech architecture is used in both the designs. Rogers designed Lloyds Bank head quarters in a medieval part of London and was required to keep the same work ethic of the bank; working in one room. All services, stairs and lifts were placed externally to the internal space as such, creating an inside out piece of architecture. It took 6 years to construct and opened in 1986 and received a lot of criticisms; the public especially and HRH prince Charles did not take a liking to this new style.

 Foster designed HSBC headquarters, he was a previous colleague of Rogers, their thinking and designing are quite similar through these pieces of architecture. Foster won the HSBC competition when jobs were scarce in Britain for him so he started looking abroad. After completing this building, the world was Foster’s oyster. Through this project he re-invented the skyscraper and his thesis is used by many of today’s Architects.

From the video it becomes apparent that there is battle between architects themselves through the styles they use and also between winning over the public and even HRH Prince Charles, High tech vc Traditional.

High Tech has gradually won over the public and critics through evolving high tech to work harmoniously with the past. A pleasant example of this is Lords cricket stadium; a collaboration of old elements and materials seamed together with modern high tech materials. It was warmly welcomes by critics and the public approved. The architects created a piece of architecture that enabled the past to still be present while holding new materials and techniques that still help to represent Britain.

Frank Lloyd Wright: Falling on Water

Reading aligned with lecture:  Modern (critical) Regionalism: Aalto, Barragan, Siza, Kahn 07/01/2015
Personal summary of Interview:http://bobnational.net/record/215697/media_id/217018

Frank Lloyd Wright is claimed to have created the worlds most famous house of the twentieth century, Falling Water, Pennsylvania. Vertical and horizontal platforms unite as one with its context over a waterfall and an idyllic rural setting. Wright is well known for his philosophical values and creating architecture that knows where it is sited, ‘‘if a house is built in a desert, let the house know it’s in the desert.’’

Falling Water in my opinion fits seamlessly and effortlessly with the nature in its context, as Wright has created an organic form combining landscape architecture, architecture and interior design as one. The interview suggests that when one is experiencing this architecture they are ‘conscious’ of external views and light in every room  and that one balcony ‘overlooks the waterfall.’ Wright also ‘’designed some of the internal fittings’’ such as built in sofas and desks. This architecture allows nature to flow internally, for example through corner windows that allow the seams of the buildings to vanish. Further more rock is penetrated into the interiors and trees are built into the building.

Frank Lloyd Wright is clamed to have created the worlds most famous house of the twentieth century, Falling Water, Pennsylvania. Vertical and horizontal platforms unite as one with its context over a waterfall and an idyllic rural setting; Falling Water emerges from the l. Wright is well known for his philosophical values and creating architecture that knows where it is sited, ‘‘if a house is built in a desert, let the house know it’s in the desert.’’

Falling Water in my opinion fits seamlessly and effortlessly with the nature in its context, as Wright has created an organic form combining landscape architecture, architecture and interior design as one. The interview suggests that when one is experiencing this architecture they are ‘conscious’ of external views and light in every room  and that one balcony ‘overlooks the waterfall.’ Wright also ‘’designed some of the internal fittings’’ such as built in sofas and desks. This architecture allows nature to flow internally, for example through corner windows that allow the seams of the buildings to vanish. Further more rock is penetrated into the interiors and surrounding trees are built into the building connecting with nature and its context.

Frank Lloyd Wright didn’t just capture the attention of those in the Architecture Industry; he created an Idyllic for some of the American society in the 1930’s for living and what a house could be. His ideas were not restricted to those architecturally cultured, but were widely accepted to the broader audience of the public.