ALDO VAN EYCK THE SHAPE OF RELATIVITY PDF

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The pavilion was for a temporary one-year exhibition that was on view between and Built of concrete block and glass, the pavilion is a rectilinear block with straight and curved walls, and is roofed by glazing that attracts diffuse light from all sides. The building is currently being renovated, and the sculpture has been removed from the site; this sucks out part of the soul of the project, but the statues will be reinstated.

The lines of its ground plan is so compelling that a commercial firm has emblazoned it on articles of clothing and its linear patterns also suggest the complexities van Eyck found in the tribal artifacts he included in a video he narrated and made for students.

The remarkable sculptures are placed on low plinths and in niches at the level of the visitor, so there is an immediacy to the relationship between subject and viewers. There is no predictability for viewers; they unexpectedly encounter curved or straight walls with the statues often and up-close.

Large, rough-surfaced, rectilinear concrete blocks joined with mortar, like bricks, give texture, and force an implied brutalist effect on the walls.

Above the pavilion, the transparent roofing lets the diffused light in from all sides, creating an aura to the sculpture and building elements below. Aldo van Eyck pavilion Cary Markerink Van Eyck often sees his buildings as small or tiny cities a theme from Leon Battista Alberti, perhaps, that became popular with Team 10, the small international architecture group of note that van Eyck belonged to.

The formal arrangement can also be traced to the ideas of Camillo Sitte, the Viennese author of a town planning book of the late 19th century, who tried to save traditional towns from unthinking modern developers who had disdain for picturesque niceties, namely, enclosed historic civic space.

You can easily meet a statue and feel an immediacy of relationship with it—again, its height is relatively human size. So, like the domestic paintings by the 17th century Dutch painter, Pieter de Hooch, there is a sense of the incremental measurements of human scale and the interpenetration of interior and exterior scenes.

Van Eyck, like de Hooch, was a firm believer of making his architecture for individual contact and pleasure. However, the spaces are sympathetic to engagement with visitors, and these visitors behold the sculpture and its architectural setting as reciprocal relationships, affecting interpersonal behavior.

Rietveld was the designer of the well-known de Stijl chair and Schroeder House Their pronounced differences will be mentioned in the blog Apertures in the Wall.

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