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CARDILLO 081 Blueprint James Stirling Article PDF
CARDILLO 081 Blueprint James Stirling Article PDF
CARDILLO 081 Blueprint James Stirling Article PDF
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SYNCHROTRON
THE
SOHEI NISHINO POSTLERFERGUSON JAMES STIRLING ANTHONY VIDLER/ODILE DECQ/KENGO KUMA/BOLLES + WILSON/KERSTEN GEERS/PIER PAOLO TAMBURELLI/RICHARD MEIER/ANTONINO CARDILLO THE LINDSTRM EFFECT
BLUEPRINT
FEATURES
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POSTLERFERGUSON
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13
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POSTLERFERGUSON
Martin Postler and Ian Ferguson
are best known in the UK for an
arsenal of build-it-yourself
cardboard weapons. Owen
Pritchard meets the designers
and finds that despite their
infamy, the company has
ambitions beyond the design of
single objects. Through
collaboration with international
clients, PostlerFerguson is
finding ways to operate in
new markets by exporting their
skills and knowledge
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JAMES STIRLING
Pritzker prize-winning James
Stirling was the architect behind
Britains most famous post-war
buildings. The most prestigious
architecture prize in the country
is named after him, yet his work
continues to divide opinion.
Ahead of a major exhibition at
Tate Britain later this year,
Anthony Vidler writes about the
archive and legacy
of an architect who remains
Britians most important
modern architect. Accompanying
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JAMES
STIRLING
AN
INTERNATIONAL
ARCHITECT
ALL IMAGES: JAMES STIRLING/MICHAEL WILFORD FONDS, CCA MONTREAL
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PETER WILSON
BOLLES + WILSON
GERMANY
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KENGO KUMA
KENGO KUMA
ASSOCIATES
JAPAN
I consider sense of humour in architecture
(or in writing) to be important. I think the
greatest attraction of British architecture is
humour. And in Stirlings works, I can see
the gifted sense of humour of a humanist.
I have always been an admirer of
Stirling. I visited Leicester University, his
gallery in Stuttgart, and the bookshop at
the 1991 Venice Biennale. His interest in
technology is well reflected in his early
works at the same time he never failed to
have a British sense of humour, and later in
his career he presented his own view of
tradition his own interpretation.
Stirling is a significant figure, having
lived in the typical age of modernism,
where he tried to retrieve architecture of a
human scale. He was a pivotal figure in the
transition from modernism to
postmodernism or minimalism.
He was an architect who dealt with
the contradictions of his time. In the
21st century, there are many types of
transparency. Materiality conflicts with
transparency, and is a paradox, yet the
two can be compatible. I want to erase
architecture, but only by creating a
new method of design called
defeated architecture.
When I was a student in Tokyo and New
York during 1970s-80s, I became interested
in the industrial feeling of Stirlings works.
For example, the engineering department at
Leicester: although it looks industrial, it
was not at all cold and I could sense his
humanity there.
Because of the RIBA prize bearing his
name, Stirling is relatively known in Japan,
and he has his followers. However, generally
speaking, he is a rather forgotten figure.
Despite this, his proposal for Kyotos new
station building drew a lot of attention in
Japan and I still think it was the best of
all the proposals.
Above: an axonometric
drawing for Churchill
College, Cambridge, by
Stirling & Gowan, 1958
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ODILE DECQ
ODBC
FRANCE
Above right: an
axonometric drawing
from House Studies,
Stirling & Gowan, 1956
Below right: a diagram
from Stirlings notebook
that explores the
evolution of modernism
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MATT NEALE
RICHARD MEIER
RICHARD MEIER AND
PARTNERS
UNITED STATES
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Brutalism as much as he disliked the
categorisation of postmodernism. A letter
from Stirling and Gowan to the New
Statesman, 26 July 1958, in reply to
Reyner Banhams Plucky Jims, reviewing
Ham Common in the issue of 19 July,
objected: We do not consider ourselves
new brutalist in regard to the design of
the flats at Ham Common. (New
brutalist is a journalistic tag applied to
some designers of architectural credit, in a
morale-boosting attempt to sanctify a
movement as Britains contribution and
to cover up for the poor showing of our
postwar architecture).
He subsequently contested the efforts
of Banham to include him among the
practitioners of New Brutalism even as he
scorned the attempt of Banhams student,
Charles Jencks, to put him in a
KERSTEN GEERS
OFFICE KERSTEN
GEERS DAVID VAN
SEVEREN
BELGIUM
PIER PAOLO
TAMBURELLI
ITALY
Stirlings architecture properly starts in
1964. After the clash with former partner
James Gowan over the Cambridge history
faculty, he started following the beat of his
own drum. He thought that the formal
principles found in the history of
architecture were the ingredients for new
architectural experiments. It is this
continuous exploration of architectural
vocabularies and languages that defines his
individual work after 1964. Actually, for
Stirling, there was no complete, reliable
architectural language (modern or
classical): his view was that you use
architectural knowledge no matter where
its found. Yet, the ambition to create a
universal system of forms if not precisely
a theory was not alien to Stirlings work.
The consistency of his collection is seen
only in the entirety of his work rather than
piece by piece. Stirlings work is a shortcut
across the minefield of modernist
historiography. The reduction of historical
context to the flatness of a collection was
instrumental in Stirlings learning method:
forms are just available. It doesnt matter
how and when they were produced. His work
is not modern or postmodern: it side-steps
a linear perception of history that allows
ideology to take hostage the debate on
architectonical form. By removing the toodirect and too-ideological elements of
architectures vocabulary, Stirling achieves
his aim by talking and remaining unclear at
the same time.
The original text of this article appeared in
OASE no. 79 (2010)
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ANTONINO CARDILLO
ITALY
The first time I came across the work of
James Stirling was during my studies of
Contemporary Architectural History. I still
cherish the memory of seeing a black and
white photo of the engineering department
at Leicester University built in 1959. The
hypnotic harmony that was somehow out
of balance achieved by cantilevering the
volumes of the building, seemed to make
reference to the Club Risakov by Russian
avant-garde architect Kostantin Melnikov. It
gave me the impression Stirling wanted to
carry on writing the truncated history of
Russian avant-garde.
Particularly with the engineering
department at Leicester University, Stirling
produced a romantic vision of the curtain
walls and horizontal windows belonging to
the modernist vocabulary of materials. This
ability to critically combine these somehow
obvious materials is a constant in his work.
At a certain time on his creative path,
though, Stirling swapped part of his
modernist vocabulary for more
historical references.
This is evident in the Neue Staatsgalerie
in Stuttgart, Germany. I always get the
impression that in this building Stirling
didnt manage to firmly control his
emerging architectural vocabulary. The lack
of synthesis here is also spatial. I like to
think of this building as an aborted
experiment part of a creative path that
was abruptly interrupted by Stirlings
sudden death.
His engineering department at Leicester
University, though, has a visionary power.
Its a building thats able to communicate
with any other period in history beyond
the period in which it was designed and
constructed. Its a meta-historical building.
There is an intriguing similarity
between Stirlings work in Leicester and the
Torre Velasca by BBPR in Milan, completed
in 1958. Both projects were engaging with
the idea of modular structures and
interested in resolving the passage from an
octagonal base to a rectangular module.