By Susannah Hagan
'Taking Shape' explores the evolution of clinical and educational theories that experience led to the concept that of sustainability. Susannah Hagan makes use of this as a foundation to argue for advancements sooner or later and argues that those theories will not be 'just an highbrow and aesthetic regression' as they can be gave the impression to be. by way of targeting the impression of the recent theories of sustainable expertise and new fabrics in structure, Hagan strikes the discourse and perform of environmental sustainability inside of structure in the direction of a better measure of know-how of either its cultural importance and cultural power. briefly, it demonstrates the means of sustainable structure to embody cultural and technical innovation.
Enables you to appreciate the evolution of the theoretical arguments at the back of sustainability
Allows you to venture into the way forward for sustainability know-how instead of simply analyzing the present situation
Provides you with a worthy perception into the connection among the actual and cultural context and structure
Read or Download Taking Shape: A New Contract Between Architecture and Nature PDF
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Additional info for Taking Shape: A New Contract Between Architecture and Nature
Example text
It was the aesthetic, as well as the economic and social implications of the new building technology that drove the Modern Movement at the beginning of the twentieth century, and it is the aesthetic as well as the economic and social implications of ‘post-imperial’ building technologies that could potentially drive an ‘Environmental Movement’ at the end of it. It is not ‘shelter’ that is going to address this aesthetic – and ideological – dimension, any more than it is ‘shelter’ which is developing the application of advanced environmental building technologies.
What has been for centuries implicit in the making of our landscapes and the selective breeding of plants and livestock – that the distinction between nature and culture is often impossible to make – is now explicit. This blurring exists both in our continued interventions in nature – plants that grow plastic, cloned sheep – and in our ‘interventions in culture’ – submarines that move like fish, robots that learn like humans. Architecture, which has always held an ambiguous position between nature and culture, is moving towards an even greater ambiguity as it pursues environmental sustainability.
Thoreau does not say ‘they can do without shelter who have no olives nor wines in the cellar’, but ‘they can do without architecture’. The two are not synonymous. Architecture is excess. To Ruskin, acceptable excess; to many environmental designers, unacceptable excess. The second impli- Defining environmental architecture cation is that art is not necessary to life the way shelter is. Shelter is on the same level of necessity as food (it is the ‘cellar’ where the food is stored); architecture (as art) is not.