Various Movements and Directions
The anthropologist, Claude Lévi-Strauss, remarked: "I do not believe that we can still speak of one structuralism. There were a whole lot of movements that claimed to be structuralist." This diversity can also be found in architecture. However, architectural structuralism has an autonomy that does not comply with all the principles of structuralism in human sciences. In architecture, the different directions have created different images. In this article two directions are discussed. These occur sometimes in combination.
On the one hand, there is the Aesthetics of Number which was formulated by Aldo van Eyck in 1959. This concept can be compared to cellular tissue. The most influential prototype of this direction is the orphanage in Amsterdam by Aldo van Eyck, completed in 1960. The Aesthetics of Number can also be described as Spatial Configurations in Architecture or Mat-Building (Alison Smithson).
On the other hand, there is the Architecture of Lively Variety (Structure and Coincidence) which was formulated for user participation in housing by John Habraken in 1961. Also, in the 1960s, many well-known utopian projects were based on the principle of Structure and Coincidence. The most influential prototype of this direction is the Yamanashi Culture Chamber in Kofu by Kenzo Tange, completed in 1967. Similar notions of Architecture of Lively Variety are: Architecture of Diversity, Pluralistic Architecture or Two-Components-Approach.
Read more about this topic: Structuralism (architecture)
Famous quotes containing the words directions and/or movements:
“My friend devotes himself to his life, whenever he can find the spare time. His motto is: Dont just sit there: live! So hes too busy to stand, to walk, to do anything, except to live. He even refused to kiss a girl, when invited, on the grounds that it was time again to be living. Schedules are sacred to him.”
—Marvin Cohen, U.S. author and humorist. The Self-Devoted Friend, New Directions (1967)
“His reversed body gracefully curved, his brown legs hoisted like a Tarentine sail, his joined ankles tacking, Van gripped with splayed hands the brow of gravity, and moved to and fro, veering and sidestepping, opening his mouth the wrong way, and blinking in the odd bilboquet fashion peculiar to eyelids in his abnormal position. Even more extraordinary than the variety and velocity of the movements he made in imitation of animal hind legs was the effortlessness of his stance.”
—Vladimir Nabokov (18991977)