»Primeval architecture is an architecture of necessity.
Nothing is there to excess, no matter whether
stone, clay, reeds or wood, animal skins or
hair are used. It is minimal. It can be very beautiful
even amidst poverty and is good in the ethical
sense.
Good architecture seems to be more important
than beautiful architecture. Beautiful architecture
is not necessarily good. Only buildings that are at
the same time ethically good and aesthetically
beautiful are worth preserving.
We have too many buildings that have become
useless and yet we still need new buildings, from
pole to pole, in the cold and in the heat.
Man’s present areas of settlement are the new
ecological system in which technology is indispensable,
even in hot and cold areas. ...
Our age requires buildings that are lighter,
more energy-saving, more mobile and more
adaptable, in brief more natural, without disregarding
the need for safety and security.
This logically leads to the further development
of light constructions, to the building of tents,
shells, awnings and air-supported membranes.
It also leads to a new mobility and changeability.
A new understanding of nature is forming under
one aspect of high performance form (also called
›classical form‹), which unites aesthetic and ethical
viewpoints.
Tomorrow’s architecture will again be minimal
architecture, an architecture of the self-education
and self-optimization processes suggested by
human beings.«
(Frei Otto and Bodo Rasch in their foreword
of this book.)
In 1992 the Bavarian branch of the Deutscher
Werkbund awarded its first prize to Frei Otto, undoubtedly
the most successful and many-sided
protagonist of modern light construction, and
with it a request to nominate a meritorious person
to whom the prize could be passed on, and
to design a joint exhibition with that person. Frei
Otto chose his pupil Bodo Rasch, who had realized
Otto’s theories particularly in other cultures.
Otto died on 9 March 2015; he was to be publicly
announced as the winner of the 2015 Pritzker
Prize on 23 March, but his death meant the committee
announced his award on 10 March. Otto
himself had been told earlier that he had won
the prize by the executive director of the Pritzker
Prize, Martha Thorne. He was reported to have
said: »I have never done anything to gain this
prize. Prize winning is not the goal of my life.
I try to help poor people, but what shall I say
here – I am very happy.«
Die Inhaltsangabe kann sich auf eine andere Ausgabe dieses Titels beziehen.
Frei Otto is one of the 20th-century's most important architectural visionaries. Although at a first glance his buildings like the German Pavilion for the 1967 World Fair in Montreal, designed with Rolf Gutbrod, the roofs for the Olympic buildings in Munich designed by Günter Behnisch or the project developed with Christoph Ingenhoven for a new main station in Stuttgart seem to be in the tradition only of the great constructors of this century like Felix Candela or Pier Luigi Nervi, his work goes way beyond mere construction. He is a technician, artist and philosopher in one, and his central concern is for a new and all-embracing link with nature in building.
"Die Urarchitektur ist eine Architektur der Notwendigkeit. Sie hat nichts zuviel, gleichgültig, ob Steine, Lehm, Schilf oder Holz, Tierhäute oder Haare verwendet werden. Sie ist minimal. Sie kann selbst in Armut sehr schön sein und ist im ethischen Sinn gut.
Gute Architektur ist wichtiger als schöne Architektur. Schöne Architektur ist nicht unbedingt gut. Ideal ist ethisch gute Architektur, die auch schön ist.
Wir haben zu viele nutzlos gewordene Häuser und brauchen dennoch neue Häuser, von Pol zu Pol, in der Kälte und in der Hitze.
Die heutigen Siedlungsgebiete des Menschen sind selbst in heißen und kalten Zonen das neue ökologische System, in dem Technik unverzichtbar ist.
Unsere Zeit verlangt leichtere, energiesparendere, mobilere und anpassungsfähigere, kurz gesagt natürlichere Häuser, ohne die Forderung nach Sicherheit und Geborgenheit zu mißachten.
Dies führt folgerichtig zur Weiterentwicklung des Leichtbaus, des Bauens von Zelten, Schalen, Segeln und luftgetragenen Membranen. Dies führt auch zu einer neuen Mobilität und Wandelbarkeit. Ein neues Verständnis von Natur bildet sich unter einem Aspekt der Hochleistungsform (auch klassische Form genannt), die ästhetische und ethische Gesichtspunkte vereint.
Die Architektur von morgen wird wieder eine Minimalarchitektur sein, eine Architektur der von Menschen angeregten Selbstbildungs- und Selbstoptimierungsprozesse." (Frei Otto und Bodo Rasch in ihrem Vorwort zu diesem Buch)
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Buch. Zustand: Neu. Neuware - 'Primeval architecture is an architecture of necessity.Nothing is there to excess, no matter whetherstone, clay, reeds or wood, animal skins orhair are used. It is minimal. It can be very beautifuleven amidst poverty and is good in the ethicalsense.Good architecture seems to be more importantthan beautiful architecture. Beautiful architectureis not necessarily good. Only buildings that are atthe same time ethically good and aestheticallybeautiful are worth preserving.We have too many buildings that have becomeuseless and yet we still need new buildings, frompole to pole, in the cold and in the heat.Man's present areas of settlement are the newecological system in which technology is indispensable,even in hot and cold areas. .Our age requires buildings that are lighter,more energy-saving, more mobile and moreadaptable, in brief more natural, without disregardingthe need for safety and security.This logically leads to the further developmentof light constructions, to the building of tents,shells, awnings and air-supported membranes.It also leads to a new mobility and changeability.A new understanding of nature is forming underone aspect of high performance form (also called'classical form'), which unites aesthetic and ethicalviewpoints.Tomorrow's architecture will again be minimalarchitecture, an architecture of the self-educationand self-optimization processes suggested byhuman beings.'(Frei Otto and Bodo Rasch in their forewordof this book.)In 1992 the Bavarian branch of the DeutscherWerkbund awarded its first prize to Frei Otto, undoubtedlythe most successful and many-sidedprotagonist of modern light construction, andwith it a request to nominate a meritorious personto whom the prize could be passed on, andto design a joint exhibition with that person. FreiOtto chose his pupil Bodo Rasch, who had realizedOtto's theories particularly in other cultures.Otto died on 9 March 2015; he was to be publiclyannounced as the winner of the 2015 PritzkerPrize on 23 March, but his death meant the committeeannounced his award on 10 March. Ottohimself had been told earlier that he had wonthe prize by the executive director of the PritzkerPrize, Martha Thorne. He was reported to havesaid: 'I have never done anything to gain thisprize. Prize winning is not the goal of my life.I try to help poor people, but what shall I sayhere - I am very happy.'. Artikel-Nr. 9783930698660
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