Lucia Vodanovic
Obsolescence and Exchange in Cedric Price’s Dispensable Museum

The work of the British architect Cedric Price appears to revolve around an unusual relationship between preservation and demolition. Insisting that architecture has to be contemporary in absolute terms, he destroys any traces that the past and its demands have left. Accordingly, most of his projects take the form of flexible structures that can be built, un-built, changed, re-organized, or dismantled. The architect believes that buildings should not be aimed at lasting functionally or aesthetically into the future and, for this reason, demolition plays an important role within his projects. Yet this formulation is also able to act as a form of preservation, not related to a particular building or structure but rather to the capacity of Price’s constructions to be transformed and exchanged, to become one thing or another, and to continue to be contingent.

Via Invisible Culture: https://goo.gl/odpO18



On Log Magazine n.23 an article by our beloved Pier Vittorio Aureli … Here the link to read it online on Issuu

Here the preview on issuu.com

This project was possible through produzionidalbasso.com


‘Philosopher, sir?’
‘An observer of human nature, sir’, said Mr Pickwick

The Pickwick Papers or The Posthumous Papers of the Pickwick Club by Charles Dickens

From AA School of Architecture


From number ZERO of SANROCCO

_C. Price, London Zoo Aviary, The Regent’s Park, London, 1962

The aviary is a building for flying inhabitants – a giant, Fulleresque toy filled with Indian and African birds. As requested in the brief, the aviary was to be large enough to permit free flight and have a viewing path through the space rather than around it. The public passage thus takes a zigzagging route along the length of the space so that birds may be viewed from above as well as from below. A large volume was created by supporting wire mesh with tension cables, which were in turn stretched over a series of triangulated frames of tubular aluminum. These frames are carried by wires on shear legs at either end, thus creating a “tensegrity” structure. The aviary is architecture freed by the obsession of the plan. It gives an idea of an experience of space that is not limited by movement on horizontal planes (which is something we take for granted when we speak of so-called architecture). Strangely enough, this liberated architectural work, finally freed from the oppression of the plan, is actually a cage.