By Sir Peter Cook

Organised into nine elements that spotlight quite a lot of architectural causes, resembling ‘Architecture as Theatre’, ‘Stretching the Vocabulary’ and ‘The urban of huge and Small’, the workbook presents inspiring key issues for readers to take their cue from whilst beginning a layout. explanations disguise a wide-range of labor that epitomise the subject. those contain historic and Modernist examples, issues saw on the street, paintings by means of present cutting edge architects and from Cook’s personal wealthy archive, weaving jointly a wealthy and colourful visible scrapbook of the typical and the architectural, and prior and present.

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Extra resources for Architecture Workbook: Design through Motive

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In terms of architectural tyrannies, that of the window can be joined by two others: that of the roof and that of the ground plane – a straitjacketing of both activity and language. Perhaps in primitive times it was cheap to stick a rain-shedding top onto a building, enabling the builder to concentrate upon the grammar of the dreaded windows and intellectually dismiss the roof as mere functionality? Similarly, the ground plane could be used to dictate the hierarchy of interpretation, based not a little upon an assumed hierarchy of activity – in the classical sense of the major activities being lifted above possible flooding, frost or maybe attack and thus creating the tradition of the piano nobile (the ‘noble’ floor of the Italian palazzo on which the major events took place).

Tom Smith, ‘Simulating a Crashed Architecture’, 2012. By skilful representation, Smith manages two things: to capture action and dynamic – one of the reiterant dreams of 20th-century architecture that is still very much alive but elusive – and an array of components that are familiar, but not usually seen as fragmented. 044 PETER COOK At a certain point the juxtaposition of substances that imply that they are in a state of flux can be a reflection upon the idea of control, and we know from Diaz Alonso’s work that the relationship between wilfulness and systematic process is a form of intensive monitoring and editing (he admits to being a frustrated film-maker).

Heath Robinson’s often zany or ironic contraptions were famous enough to be absorbed into the English language as a reference to absurd or extreme inventions. As such they imperceptibly link through to the British predilection for gadgetry that (perhaps) led to the architecture of High-Tech. The fundamental English recourse to silliness is a defence mechanism and plea to be allowed to play, leading imperceptibly to a mandate to combine the unlike with the unlike. ) History also suggests that this is a resource that has stood well for us in times of adversity: if the Second World War caused a series of inventions to be made for military purposes, the 1950s period immediately after was in some ways more insidious in its low-key atmosphere and the reality of food rationing and austerity – hence the recourse to irony and silly inventions paralleled by a simmering creativity in the British art schools, and a caustic irritation with the old, comfortable methods and devices.

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