An exposed brick building is often tied or likened to practicing or attempting ‘sustainable’ building practices. Be it the legacy of Laurie Baker or the highly cost-effective prototypes for the less privileged by Late Mr. Anil Laul (Anangpur Building Centre); both practices follow distinct styles of building and exist in disparate social contexts. Yet both methodologies are often ascribed under a broad category of sustainable design. Which is not to say that neither system is unsustainable, but ‘sustainability’ as a keyword does overshadow many poetics of architecture. For Baker, the building was as unique as an individual; each of his design was a living entity. He nurtured them with the respect and regard that one may have towards another person. This reverence perhaps translated to the rhythmic spaces and volumes into buildings that demonstrated dramatic spatial experiences and bespoke brick-detailing in every structure that he created. Alongside, Baker’s philosophy of design was also rooted in site-specific conditions, ecological betterment of the precinct, economics and so on. And then he endeavored to propagate about his construction systems; an attempt to ‘sustain’ knowledge and expertise for generations to come. And Costford currently upholds the practice but somewhere the takeaway from Baker’s legacy is only limited to the tangibles of material, site, and economics. The intangibles, the narratives, and poetry are perhaps seldom addressed.
هذه القصة مأخوذة من طبعة September 2019 من Indian Architect & Builder.
ابدأ النسخة التجريبية المجانية من Magzter GOLD لمدة 7 أيام للوصول إلى آلاف القصص المتميزة المنسقة وأكثر من 9,000 مجلة وصحيفة.
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هذه القصة مأخوذة من طبعة September 2019 من Indian Architect & Builder.
ابدأ النسخة التجريبية المجانية من Magzter GOLD لمدة 7 أيام للوصول إلى آلاف القصص المتميزة المنسقة وأكثر من 9,000 مجلة وصحيفة.
بالفعل مشترك? تسجيل الدخول
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Almost every architect also doubles as a photographer or at least an enthusiast.