Richard rogers: an architecture of reinvention
By: Shinkre, Rohit
.
Publisher: Mumbai The Indian Institute of Architects 2023Edition: Vol.88(1), Jan.Description: 68-71p.Subject(s): ARCHITECTURE GENERAL (AR-GEN)Online resources: Click here
In:
Journal of the Indian institute of architects :(JIIA)Summary: This article shall discuss the architecture of Richard Rogers
through 3 milestone projects; Beaubourg (1971-76), as the
Centre Pompidou is called, Lloyds HQ, London, (1978-86)
and Drawing Gallery at Chateau Lacoste, Provence (2021)
his last project. His work draws on many avant-garde
influences; the visual idiom of Russian Constructivists, the
crafted details of Jean Prouvé and Mies, Buckminster Fuller’s
preoccupation with lightness, the neo futurism of Cedric
Price, Archigram Yona Friedman, the organicity of the
Japanese Metabolists, and the colours of Pop-art. Rogers’
work along with his contemporaries Renzo Piano, co-author
of the Centre Pompidou, and Norman Foster, was labelled
as ‘hi-tech'. However, a finer analysis reveals more than the
unfettered use of technology challenging established norms
of buildability; it is an architecture of reinvention.
| Item type | Current location | Call number | Status | Date due | Barcode | Item holds |
|---|---|---|---|---|---|---|
Articles Abstract Database
|
School of Architecture Archieval Section | Not for loan | 2023-0829 |
This article shall discuss the architecture of Richard Rogers
through 3 milestone projects; Beaubourg (1971-76), as the
Centre Pompidou is called, Lloyds HQ, London, (1978-86)
and Drawing Gallery at Chateau Lacoste, Provence (2021)
his last project. His work draws on many avant-garde
influences; the visual idiom of Russian Constructivists, the
crafted details of Jean Prouvé and Mies, Buckminster Fuller’s
preoccupation with lightness, the neo futurism of Cedric
Price, Archigram Yona Friedman, the organicity of the
Japanese Metabolists, and the colours of Pop-art. Rogers’
work along with his contemporaries Renzo Piano, co-author
of the Centre Pompidou, and Norman Foster, was labelled
as ‘hi-tech'. However, a finer analysis reveals more than the
unfettered use of technology challenging established norms
of buildability; it is an architecture of reinvention.
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