灯,相机…铝!: Welton Becket的世纪城总体规划中的物质性和纪念性

Joss Kiely
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引用次数: 0

摘要

总体规划的规模和雄心并不完全符合建筑或城市规划,因此,总体规划作为一种实践的历史,它的美学和伦理学长期存在于这两个学科的边缘。在战后时期,由建筑师设计的总体规划方案致力于高度现代主义理想,将城市重新构想为有序和美学的集合体,但在美国和国外都有大规模增长和发展的可观预期。随着建筑师们从单纯的建筑设计转向更大规模的规划项目——将他们的专业知识扩展到城市规划的边界——一个重要的转变发生了。这种转变最好被理解为无所不知和天真的结合,这种立场要求建筑师暂停特定的知识,以支持广泛的远见追求。本文考虑了日常生活的一个重要方面:闲暇时间。在高度现代主义的信条下,挤出时间“玩耍”的能力在很大程度上是一种现代奢侈品,这在世界各地的各种项目中都得到了体现,从夏威夷的海滩度假胜地到法国的滑雪胜地,再到重新构想的城中城,比如洛杉矶盆地的加利福尼亚世纪城的总体规划。Welton Becket在1963年的城市愿景中呼吁用一个综合娱乐、购物和生活中心来取代好莱坞的工作室,以满足南加州娱乐产业的需求。最终的扩建项目包括各种各样的晚期现代主义建筑师的项目,包括山崎实(Minoru Yamasaki)、查尔斯·卢克曼(Charles Luckman)和贝聿铭(i.m. Pei),它加入了一长串通过建筑和规划方案美学表达休闲的项目。总而言之,这些项目强调了休闲、度假时间和炫耀性消费的增加,这种增加发生在第二次世界大战后,并持续到今天。
本文章由计算机程序翻译,如有差异,请以英文原文为准。
Lights, Camera… Aluminum!: Materiality and Monumentality in Welton Becket’s Masterplan of Century City, CA
The scale and ambition of the masterplan doesn’t fit neatly in either architecture or urban planning, and therefore, the history of master planning as a practice, its aesthetics and its ethics have long existed at the margins of both disciplines. In the postwar period, masterplan proposals designed by architects committed to high modernist ideals reimagined cities as orderly and aesthetic agglomerations – but with considerable anticipation of large-scale growth and development – both in the United States and abroad. As architects moved away from solely designing buildings to spearheading larger scale planning projects – straining their disciplinary expertise to the border of urban planning – an important transition took place. This shift might be best understood as a blend of omniscience and naivete, a stance that required architects to suspend specific knowledge to champion broad visionary pursuits. This paper considers an important aspect of everyday life: leisure time. Much touted by the tenets of high modernism, the ability to carve out time to “play” was largely a modern luxury, and this played out in a variety of projects worldwide, from beach resorts in Hawaii and ski resorts in France, to reimagined cities within cities, such as the masterplan for Century City, California in the Los Angeles Basin. Welton Becket’s 1963 urban vision called for the replacement of Hollywood studio lots with a composed entertainment, shopping and living centre focused on the needs of the Southern California entertainment industry. The ultimate buildout includes projects by a wide variety of late modernist architects, including Minoru Yamasaki, Charles Luckman and I. M. Pei, and it joins a long list of projects that champion leisure aesthetically expressed through architecture and planning schemes. Taken together, such projects underscore the increase in leisure, vacation time and conspicuous consumption that occurred after World War II and continues into the present day.
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