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And in Aalto's Wolfsburg Cultural Center the rectangular configuration of the whole composition is barely maintained as he organizes the necessarily diagonal shapes of the auditoriums.
Robert Venturi, Complexity and Contradiction in Architecture (1966), p. 56.

This is different from Kahn's Goldenberg House project where the exceptional diagonal is in part an element of the structural pattern and partially spatial, to make a series of spaces that go around the corners of the building continuously, rather than one side overlapping the other.
Robert Venturi, Complexity and Contradiction in Architecture (1966), p. 58.

Mies allows nothing to get in the way of the consistency of his order, of the point, line, and plane of his always complete pavilions. If Wright camouflages his circumstantial exceptions, Mies excludes them: less is more. Since 1940 Mies has not used a circumstantial diagonal, and in his series of courthouse projects of the 1930's the diagonal is a function of the free plan rather than a condition of the circumstantial.
Robert Venturi, Complexity and Contradiction in Architecture (1966), p. 58.

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