Why We Build (Anglais) Relié – 20 août 2013
Descriptions du produit
Revue de presse
“Thoughtful and elegantly written, Why We Build will appeal to anyone with an interest in architecture, and the egos, power struggles and human relationships behind the creation of our surroundings.” (The Spectator)
“Intelligent and cultured... Astringent and subtle.” (The Independent)
“With unfailingly fresh insight. Moore decrypts the ideological narratives of buildings with the same fluency he brings to bear on materials, forms and spaces: today’s architectural criticism rarely seems so humane or intelligent.” (Sunday Telegraph)
“A fascinating work of love, intellectual curiosity and endurance…Suggest[s] the possibility of a more grown-up and subtle way of thinking about our architecture. (Literary Review)
“Supremely ambitious…[Moore] writes with economy, clarity and wit. The prospect of 400 pages in his presence is not an unhappy one.” (Building Design)
“Studious and serious, with meaningful insights on where we are going in the future. . . . In today’s world of flip journalism, Rowan Moore is refreshing.” (Frank Gehry)
“A vivid account. . . Stimulat[es] the reader.” (Wall Street Journal)
“Rowan Moore. . . can build: He is trained in the craft himself. He also knows how to write descriptively and deliciously. . . An engaging, joyous read. . . Moore’s writing is lithe and sensual. . . His delight in the subject is everywhere and infectious.” (Cleveland Plain Dealer)
“[A] lively, wide-ranging and thought-provoking new book . . . . Devastatingly funny if deeply disturbing. . . . No other newspaper architecture critic [is] as sharp an assessor of the built environment as Moore.” (New York Review of Books)
Présentation de l'éditeur
In an era of brash, expensive, provocative new buildings, a prominent critic argues that emotions—such as hope, power, sex, and our changing relationship to the idea of home—are the most powerful force behind architecture, yesterday and (especially) today.
We are living in the most dramatic period in architectural history in more than half a century: a time when cityscapes are being redrawn on a yearly basis, architects are testing the very idea of what a building is, and whole cities are being invented overnight in exotic locales or here in the United States.
Now, in a bold and wide-ranging new work, Rowan Moore—former director of the Architecture Foundation, now the architecture critic for The Observer—explores the reasons behind these changes in our built environment, and how they in turn are changing the way we live in the world. Taking as his starting point dramatic examples such as the High Line in New York City and the outrageous island experiment of Dubai, Moore then reaches far and wide: back in time to explore the Covent Garden brothels of eighteenth-century London and the fetishistic minimalism of Adolf Loos; across the world to assess a software magnate’s grandiose mansion in Atlanta and Daniel Libeskind’s failed design for the World Trade Center site; and finally to the deeply naturalistic work of Lina Bo Bardi, whom he celebrates as the most underrated architect of the modern era.
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Highest in his echelon is Lina Bo Bardi, an Italian-born Brazilian who, decades ago, designed an art center that simply blended into Sao Paulo’s Trianon, a public park. Lower down is One Hyde Park, a set of “harsh and assertive” blocks of apartments selling at 15 to 140 millions of pounds to foreign investors, and spoiling the look of Knightsbridge as well as access to park views. Lowest is Dubai where spectacular and fantastic “show-off” towers rise above imported beaches and the nasty “crisis in the drains.”
Moore takes us around the world and across time, to discuss the visions that build pyramids and world fairs, the hope that designs housing to accommodate chronic poverty, the open mind that enables futuristic technology. He comments on the failure of the “big roof” concept (think “airports”), and success of the simplest laundry (think “shaded pool”). He observes Manhattan’s contentious rebuilding the World Trade Center simultaneous to the collaborative re-purposing an abandoned railway track as a linear park.
Moore is amused by but concerned about starchitect power plays, names that dominate the profession, some who will squash opposition. He recalls his own stumbles in working with the amazing Zaha Hadid, who was commissioned to design new quarters for the Architecture Foundation on a “sliver” of land near the Tate Modern. Her daring idea quadrupled the budget, caved in to practical considerations (such as difficulty getting equipment through traffic); and eventually was canceled when the stock market fell.
This 422-page tour through our built and imagined environment is strenuous, but it is led by a likable as well as knowledgeable guide.
Examines interesting, often offbeat, situations. Comes to strong, convincing conclusions.
Brilliant use of English (those Brits!). Sometimes goes overboard with colorful wording.
Recommended to anyone with interest in architecture or urban development.