#PRO SEAMLESS TEXTURES ARCHITECTURAL NATURE TORRENT PROFESSIONAL#
Despite deep political anxieties, new research and intellectual groups were allowed to be formed in the 1960s because they were considered technical and professional by nature, and they aided the state’s search for a modern urban form. This was a period of liberal formations of non-governmental think tanks largely because of a lack of expertise in the public sectors.
Formed in the 1960s, the Asian Planning and Architectural Collaborative (APAC) and Singapore Planning and Urban Research (SPUR) think thanks were at the heart of the process of researching and establishing new cultural and urban forms across different parts of Asia. This social and urban modernization process was part of an ambition to build a modern city quickly, and it gave shape to the ways new governments treated civic society, social policies and their corresponding urban forms.
Technical aid from the United Nations and other forms of internationalization combined powerfully with modern urban and architectural pedagogies to aid newly formed governments in their push to legitimize an aggressive form of modernization. This paper delves into the formations of pan-Asian think tanks in the urban politics of modernization in Asia during the Cold War period. The Centre gains in this context a revised attention as it was designed in the age of post-war euphoria from the generation after the pioneers of modernism simultaneously lying 40 years behind from today that allows us to look back from an age of different social needs and aspirations. In this spirit this paper retrospectively analyzes the conditions which caused the publication of the manifesto which then leads to the engagement with the text itself and ends up with the application of insights on a case study: the Centre Pompidou in Paris built in 1977. This introduced the notion of the monument as a heritage for the future representing social and community life. It manifested their answer to the polemic that Modernism could express the theme of monument and memory as the avant garde tried to break away from past styles or as the historian Lewis Mumford called it to break away from death-oriented cultures (Mumforf 1937, 263). However one manifesto that did change the way we look at this topic since the advent of modern age was the New Monumentality as defined by the representatives of the modern movement, the architect Luis Sert, the historian Sigfried Giedion and the painter Fernand Lèger in 1944. When discussing about monumental building art, the architectural discourse seems to be in division as their has not been provided any universal theory on when and how architecture becomes monumental.
0 kommentar(er)
