1992: A year of trends in Canadian architecture

Type :

Term papers

Pages :

4 pages

Format :

.doc

Published date :

07/29/2009

Category :

Arts & media

Sub category :

Architecture

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Summary :

Introduction
Isenstadt's argument: An analysis
The multitude of expectations and experiences in the creation of architectural projects
The classical division between imitation and innovation in architecture
Subjective conditioning
Jean-Paul Viguier's work
Conclusion
Works cited

Abstract

"A national architecture implies the existence of common traditions unified by the sense of a common undertaking. In the canadian case the traditions were immigrant as were the people, but the enterprise in its geographical setting is distinctive; it is in their interaction that a canadian architecture must be found" [McMordie, 1976]. The most compelling evidence of the scope of architecture is contained in the built work. However, the key to understanding that work is also to be found in the intentions of the architect, what is often categorized as "theory." The struggle to understand theory's relationship to the creative process and to the built product lies in the complexity of architecture itself: Theory is often appropriated to bridge the sometimes conflicting requirements of art and science.

How is theory expressed in canadian architecture? Characteristically, it displays the interplay between the natural and the crafted; that is, between the environment and the structure. In 1992, canadian architects would reveal several noteworthy sites. For example, Arthur Erickson completed the San Diego Convention Centre, Hugo Eppich Residence and Khosla House projects; Patkau Architects completed the Emily Carr School of Design; Peter Cardew completed the Morris and Helen Belkin Art Gallery; and Dan Hanganu completed the Éperon Building, Pointe à Callières project [canadian Architect, 1992].