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2018 | Supplement | Buchkapitel

3. The Masters and Their Structures

verfasst von : Derek Thomas

Erschienen in: Masters of the Structural Aesthetic

Verlag: Springer Singapore

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Abstract

In this Chapter a synthesis of the elemental determinants described in Chap. 2 is applied as a background to the ten chosen architectural works, whether through stylistic or philosophical genesis, and forms the discourse in this chapter. A review of the predominance of the ‘structural aesthetic’ in vernacular architecture confirms that historically the adoption of the equivalent elemental determinants that inform architecture of today existed albeit intuitively. Against the background of architectural monuments of the Greeks and Romans, the work of Filippo Brunelleschi is a fitting opening to the review, based on his stand-alone achievements as a precursor to the Renaissance. Since the Renaissance adopted Classical architecture for inspiration, architecture tended not to expose, but rather to clad the structure. In the fullness of time Antoni Gaudi (La Sagrada Familia, Barcelona) is identified as a major figure in returning architecture to its roots by adopting natural forms for his signature style in aesthetics. The figure of Le Corbusier (Ronchamp Chapel) looms large in architecture, and by virtue of his adoption of organic forms, left raw and unfinished, his gesture to the aesthetic of the structure is recognised. The review follows three towering figures during the middle of the twentieth century: Pier Luigi Nervi (Turin Exhibition Halls) who succeeded in promoting concrete in structural forms that could satisfy all the elemental determinants with impressive aesthetic outcomes; Oscar Niemeyer (National Congress Building, Brasilia) employed gravity-defying shell dome constructions that became the hallmark of his work in both Brazil and abroad; and Jörn Utzon’s whimsical aesthetic that used spherical geometry in Nature for the Sydney Opera House in the most effective way to contain the greatest volume with the least surface area. Moving away from concrete, Frei Otto (Munich Olympic Stadium, 1972) forever changed attitudes to tensile structures that were unmatched in simplicity and elegance and the essence of good architecture. To bring the review up to present day, the avant-garde work of Zaha Hadid (Heydar Cultural Centre) opens a vista on the future, through the use of the most advanced digital design aids, where a steel spaceframe is used with fluidity, with a result bordering on the surreal in architecture.

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Titel: The Masters and Their Structures
verfasst von: Derek Thomas
Verlag: Springer Singapore
Buch: Masters of the Structural Aesthetic
Print ISBN: 978-981-10-5444-0

Electronic ISBN: 978-981-10-5445-7

Copyright-Jahr: 2018
DOI: https://doi.org/10.1007/978-981-10-5445-7_3

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