harry seidler, architect, with marcel breuer and pier luigi nervi, australian embassy, paris, 1973-1977 : 無料・フリー素材/写真
harry seidler, architect, with marcel breuer and pier luigi nervi, australian embassy, paris, 1973-1977 / seier+seier
| ライセンス | クリエイティブ・コモンズ 表示 2.1 |
|---|---|
| 説明 | australian embassy, quai branly, paris, france, 1973-1977.architect: harry seidler (1923-2006) with marcel breuer (1902-1981) and pier luigi nervi (1891-1979), consultants.just walked past this one and snapped a photo. harry seidler with breuer and nervi sounds more like namedropping than architectural history, but these men knew each other well and naturally collaborated on a commision of this order. and history it is. a viennese-born australian and hungarian-born american working together - that contains the story of what europe did with so many of its greatest talents and minds: lost them. at least seidler and breuer made it out alive.a lot of very clever, late-modernist planning is found behind the facades of the australian embassy, as is a rather beautiful system of pre-fabricated concrete, pier luigi nervi's contribution to the project. however, for people in the street, such as we were, it is difficult to look beyond the granite front. not only because strikingly large parts of it are opaque and do not allow it, but rather for its hostile demeanor.so, why are we even looking at seidler's embassy? its obvious sculptural qualities are probably reason enough, but I think you'll agree that this kind of late modern architecture represents what a great many people would call brutalism, and since that is a pet subject in these pages, the embassy deserves a second look.certainly, the coldness of the stone, the high level of abstraction, and the almost complete disregard for human scale may be described as being brutal. yet, coldness and abstraction were what the brutalist movement had reacted against. many of its members would have liked to include 'disregard for human scale' on that list, but the enormity of some of their housing projects more than suggests that they hadn't quite given up on modernism's dreams of building to the scale of industrial production as opposed to human need.this is why I try to promote the term poetic brutalism: to distinguish the sensitivity found in the maisons jaoul, in the solar pavilion, and in lina bo bardi's SESC pompéia from the plethora of polished pieces pandering to power that the same period had to offer. however brutal, seidler's paris embassy fails to qualify due to its distinct lack of the poetic in poetic brutalism.this photo was uploaded with a CC license and may be used free of charge and in any way you see fit. if possible, please name photographer "SEIER+SEIER". if not, don't. |
| 撮影日 | 2010-11-20 14:17:29 |
| 撮影者 | seier+seier |
| タグ | |
| 撮影地 | Paris, Île-de-France, France 地図 |