In prima sa carte, Urban Space, aparuta in 1975, Rob Krier face cunoscut interesul sau pentru tipologie drept mijloc pentru compozitia urbana. In anul urmator preia o catedra la Facultatea de Arhitectura din Viena si, in ultima parte a anilor ’70, rafineaza conform propriilor acceptiuni, notiunile de bloc, strada si incinta ca baza a viziunii sale asupra “Noului Urbanism” avand anumite similitudini cu dezvoltarile tarzii ale acestei miscari in Statele Unite.
Cele “10 Teze despre Arhitectura” contureaza gandirea sa in proiectarea de urbanism si, desi exprimate concis in cateva fraze, dezvaluie generos filozofia sa. Rob Krier, prin gandirea sa urbanistica, cauta mai curand sa refaca experienta spatiala istorica decat sa impuna unele forme istorice numai de dragul lor.
Aceste principii au fost aplicate dintotdeauna, de cand omul isi planifica rational constructiile si intelege arhitectura ca pe un produs estetic, adica de cand forma constructiilor se naste ca urmare a unor ratiuni ce depasesc scopurile simplei utilizari functionale.
10 THESES ON ARCHITECTURE
FUNCTION, CONSTRUCTION AND FORM
are of equal value and together determine the architecture. None should have priority over the others.
FUNCTION AND CONSTRUCTION
are elements of a useful nature whose fulfilment should be a matter of course in building. Only when they are raised to an aesthetic level does a building become architecture.
THE MEANS OF AESTHETIC SUBLIMATION ARE:
– The handling of materials and colour and the artistic interpretation of these.
THE AESTHETIC DIMENSION
The deeper significance of beauty in architecture lies in man’s need to give his useful objects a poetic dimension which will communicate the ‘spirit’ of his age to future generations. (” . . . it is useful because it is beautiful. . . ” Antoine de Saint-Exupery)
is the basis of all architectural articulation. As organised geometry, architecture derives its force from the contrast with living nature, not from a formal adjustment to it. Architecture is the creation of man.
in architecture should be adjusted to the size of the human body and its patterns or– behaviour, perception and sensitivity. It should not be orientated to technical or structure principles or to economic considerations only.
Any new planning in a city should be such that it fits into the general order and offers a formal response to existing spatial patterns.
THE CITY AS A WHOLE
has been forgotten in 20th-century urban planning. Our new cities consist of collections is individual buildings. Five thousand years of urban history show that the complex structune-5 of streets and squares are necessary as communication zones and centres of identity. T’–e modern city needs the traditional concepts of urban planning as ivell.
The proper appreciation of our historical heritage will filter the experience of the past to the advantage of planning for the future.
THE RESPONSIBILITY OF THE ARCHITECT
The architect alone is responsible for the product which emerges from his drawing board and bears his signature. No politician or financier will take the cultural blame from the architect’s shoulders for a mis-planned environment. It is the responsibility of our universities to prepare future generations of architects for this overwhelming ethical and moral task.