Aquest passat cap de setmana he estat a London visitant les darreres obres de Sergison & Bates, Caruso St John, Tony Freetton, David Adjaye, Stanton Williams, etc… Com sempre passa, al final l’arquitectura que més m’ha sorprés és la que ja coneixia, la dels clàssics.
Revisitar les obres de Lubetkin (Highpoint) , Lasdun, Goldfinger (la seva casa és una maravella que us recomano a tots) i el Barbican Centre ha sigut per a mi el millor d’aquest cap de setmana.
Aquesta torre en particular de Denys Lasdun, l’arquitecte que va projectar el National Theatre entre d’altres edificis, m’ha interessat molt. Us recomano que busqueu les plantes d’aquest edifici residencial de duplex que és tota una lliçó sobre geometria.
“…Lasdun also had a commitment to humanism in his housing projects, and was deeply affected by the ambitious social goals of the Modern Movement. Like other far-sighted architects such as Alison and Peter Smithson, he was concerned that Modernist housing theory was guilty of ignoring the importance of ‘belonging’, and would destroy the strong sense of community fostered in narrow terraced streets.
His solution was the ‘cluster block’, perfected at Keeling House in Bethnal Green, in the heart of London’s east end. Four towers surround a central service core, with two-storey maisonettes arranged with communal laundry galleries and public spaces in an attempt to replicate vibrant streets high in the air.
But Keeling House suffered many of the problems that afflicted all forms of inner-city social housing in the 1970s and 1980s. Although popular with its tenants, Lasdun did not succeed in maintaining the social cohesion he saw and admired in traditional housing.
Today, Keeling House has been renovated by a private developer and home to some of London’s better-heeled residents. Nonetheless, this building, as well as his more famous public landmarks, are testament to an architect with an abiding faith in the Modernists’ ability, and duty, to improve the lives of people through the buildings they use, and who was not afraid to reinterpret, or adjust, Modernist thinking in order to achieve this.”