Қағаз архитектурасы: Іске аспаған жобалар және қиял жемістері

Building design only on paper
Visionary architecture is a design that only exists on paper or displays idealistic or impractical qualities. The term originated from an exhibit at the Museum of Modern Art in 1960. Visionary architects are also known as paper architects because their improbable works exist only as drawings, collages, or models. Their designs show unique, creative concepts that are unrealistic or impossible except in the design environment. Traditionally, the term visionary refers to a person who has visions or sees things that do not exist in the real world, such as a saint or someone who is mentally unbalanced. Thus, visionary architecture as a label is somewhat pejorative and has been used to marginalize paper architects from the mainstream. Visionary architecture was discussed and celebrated at the Architecture of Disbelief symposium at Cornell University in 2008. Prominent modern and pre modern visionary architects include Etienne Louis Boullée, Peter Eisenman, Zaha Hadid, Rem Koolhaas, Daniel Libeskind, Antonio Sant'Elia, and Lebbeus Woods. This discovery allowed architects to experiment with imaginary architectural scenes. While many architects wrote on the subject, others articulated their concepts and ideas in their drawings. In the 16th century, a Dutch painter and architect, Jan Vredeman de Vries, produced numerous engravings that portrayed new forms of architecture. His architectural designs were pure fantasy and imagination—and avant garde architectural spaces. When turned into scaled models, visionary designs were considered utopian and fantastic. Rather than bringing the building into existence, visionary architects use scale models to make the building speak through a sense of fantasy and symbolic meanings. Claude Nicolas Ledoux is known for his utopian designs, including the City of Chaux around the Royal Saltworks at Arc et Senans. Ledoux developed an entire master plan for Chaux, along with architectural drawings, elevations, and sections of various individual buildings. Ledoux also designed a tube shaped house for the director of the waterworks by the Loire river, c. 1773 to 1779. One of his visionary designs was a stable shaped like a cow. He was also an influential architectural theorist because he taught at the École Nationale des Ponts et Chaussées and elsewhere for fifty years. Ferriss divided his book into three sections: Cities of Today, Projected Trends, and An Imaginary Metropolis. In the 20th century, visionary architects surfaced in repressed societies where young architects had little hope of realizing their designs. The Germans turned to visionary paper architecture after World War I. He designed mountainous buildings with bridges and towers connecting spaces. Tatlin's design recalled the metaphor for the Russian Revolution as a spiral. Their work focused on the future of urban development without the restraint of a client. His visionary designs showed what he referred to as narrative architecture—designs inspired by works of literature. Because his designs were often executed by working from anti theses of architectural principles, Darden described his work as exploring the margin or the "underbelly." He called his work "cardboard architecture" and once said, "I would never live in anything I design." Her geometric designs have a sense of movement, fragmentation, and instability. Koolhaas saw a symbiotic relationship between Manhattan's "culture of congestion" and its architecture, arguing that the architecture generated the culture. His book is also a spatial project, using the narrative sequence and typographic layout to mimic the space effectively.

Daniel Libeskind designed the Jewish Museum Berlin and the World Trade Center site redesign. Before those projects, he was an academic for sixteen years and had designed only two constructed buildings. He produced a body of drawings and models that reimagine cities like Berlin, Paris, Havana, Sarajevo, and Vienna. In his 1998 architectural manifesto Thinking Architecture, Zumthor discussed the significance of emotion and experience in determining successful architecture. He believes that a building's beauty is not in its shape, but in the sensations and emotions, it creates. His work was mostly unpublished because of his philosophical belief that architecture should be experienced firsthand.

Visionary architecture overlaps with fantastic architecture, utopian architecture, and conceptual architecture. Fantastic architectural designs are built, whereas visionary designs are not intended to be built. Visionary architecture is more individualistic in its creation than utopian architecture. Conceptual architecture, or architecture based on imagination and visions, dissociates the physical nature of the architectural design. However, visionary architecture gains its significance in the belief that unbuilt drawings and images portray the true meaning of architecture and design.

Cooke, Catherine and Belov, Mikhail. Nostalgia of Culture: Contemporary Soviet Visionary Architecture. Great Britain: Architectural Association, 1988. Feuerstein, Gunter. Visionäre Architektur : Wien 1958/1988. Berlin, Ernst & Sohn, 1988. Lampugnani, Vittorio Magnago. Visionary Architecture of the Twentieth Century: Master drawings from Frank Lloyd Wright to Aldo Rossi. Thames & Hudson, 1982. Lemagny, Jean Claude. Visionary Architects: Boullée, Ledoux, Lequeu. Houston, University of St Thomas, 1967. Reissued 2002. Sky, Alison and Stone, Michelle. Unbuilt America: Forgotten Architecture in the United States from Thomas Jefferson to the Space Age. New York: McGraw Hill, 1976.