By Nicholas Ray
A solid of prime writers and practitioners take on the moral questions that architects are more and more dealing with of their paintings, from sensible issues in development to the broader social context of constructions, their visual appeal, use and position within the narrative of our environment. This publication provides an account of those moral questions from the views of historic architectural perform, philosophy, and company, and examines the results of such dilemmas. Taking the present dialogue of ethics in structure directly to a brand new level, this volume provides an accumulation of various reviews, targeting architects' activities and items that materially have an effect on the lives of individuals in all urbanized societies.
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Additional info for Architecture and its Ethical Dilemmas
17 Banham 1968. convenience highest, with those of the commissioning client, for whom cost certainty from the inception of the project and low maintenance charges during its lifetime are likely to be paramount. But these are professional obligations, and as such are not unique to architects. In terms of both these groups, Stirling’s building is not very successful, for the reasons summarised by Stamp in 1976. This is not to say that he did not intend to meet his client’s needs, however. Stirling undoubtedly believed that he was exercising his architectural skill at the service of his clients, and some of the qualities admired by his critics do derive directly from a consideration of the needs of the users: the remarkably even quality of natural light in the main reading room, for example.
1 The Cambridge History Faculty building, seen from the Sidgwick Avenue site. 2 The radiating top-lit reading room. as well as the differing reading conditions for its users. Stirling made the diagram more powerful and dramatic firstly by radiating the stacks, which ensured maximum visibility from the access desk, and secondly by glazing the roof entirely. When the building was opened it attracted glowing reviews. 4 It was clear, even in 1968, that there was a major disparity between the aesthetic interest in the building, its aesthetic worth even, and a responsible judgement of it in a more complete sense, as a work of architecture.
The play itself requires the participation of actors, stage technicians, lighting and set designers. It would not be staged at all if some person or organisation had not been found to fund it. 24 The UGC announced that they were not prepared to increase their grant to cover innovative design, and any extras would have to be borne by the university. The judgement was that the risk was worth it; maybe Martin persuaded the university that it would be commissioning a master work. Stirling was faced with a budget that probably would not pay for the kind of building he envisaged.
Architecture and its Ethical Dilemmas by Nicholas Ray