Colin Rowe writes about the patterns and sequences found in Le Corbusier & Andrea Palladio, he writes about the scientific investigation to explain geometry and ratio, which enables him to discuss 'the perfect villa'. He discusses the relationship between elevation and plan in terms of ratio and Rowe writes about how architecture is measured. He doesn't come across keen on conceptual architecture, Rowe likes the science that goes into design and the mathematics behind the structure which is a physical form. He compares Palladio and Le Corbusier and discusses how one is very much about the form of the building, whilst one is very attentive to the equilibrium of the building, equal load, equal supporting walls which in turn will create the perfect roof. Rowe liked the mathematics behind the design, he wanted to know that the villas in question were thought about thoroughly and with the equations.
This is, and always has been, a major part of architecture, nobody can build without carefully worked out plans, but architects of the modern era such as Frank Gehry seem to design and build from concept. These alien-like forms seem to stand but they are built on an ideology rather than a science. Rowe debates about natural beauty against customary beauty, natural beauty forming from the ratio and proportion, whereas customary beauty is the things you like, designed in the look rather than the natural beauty which is formed from ratios.
Rowe mentions Sir Christopher Wren in his essays, so he must be a fan of traditional architecture.
Colin Rowe deciphers Palladio's villa and Le Corbusier's villa, opportunities are in the sections of these two, again, in relation to the variations in their approaches to architecture. Palladio designs very much in plan which allows symmetry and therefore the potential is there for a vaulted or suchlike roof structure. Le Corbusier, however, designed very much in elevation, stacked plans with beams and columns, the roof form becomes more like a floor plan with little flexibility in the form of the roof. A very different style of beauty, in elevation. Comparing the design of a building from plan as opposed to a building designed from elevation is an interesting examination and Colin Rowe makes the point that both can be equally successful in their own right.
This is, and always has been, a major part of architecture, nobody can build without carefully worked out plans, but architects of the modern era such as Frank Gehry seem to design and build from concept. These alien-like forms seem to stand but they are built on an ideology rather than a science. Rowe debates about natural beauty against customary beauty, natural beauty forming from the ratio and proportion, whereas customary beauty is the things you like, designed in the look rather than the natural beauty which is formed from ratios.
Rowe mentions Sir Christopher Wren in his essays, so he must be a fan of traditional architecture.
Colin Rowe deciphers Palladio's villa and Le Corbusier's villa, opportunities are in the sections of these two, again, in relation to the variations in their approaches to architecture. Palladio designs very much in plan which allows symmetry and therefore the potential is there for a vaulted or suchlike roof structure. Le Corbusier, however, designed very much in elevation, stacked plans with beams and columns, the roof form becomes more like a floor plan with little flexibility in the form of the roof. A very different style of beauty, in elevation. Comparing the design of a building from plan as opposed to a building designed from elevation is an interesting examination and Colin Rowe makes the point that both can be equally successful in their own right.
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