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HRH The Prince of Wales, 1989:
"The fashionable architectural theories of the 50s and 60s, so slavishly followed by those who wanted to be considered ‘with it', have spawned deformed monsters which have come to haunt our towns and cities, our villages and our countryside. As a result of thirty years of experimenting with revolutionary building materials and novel ideas, burning all the rule books and purveying the theory that man is a machine, we have ended up with Frankenstein monsters, devoid of character, alien and largely unloved, except by the professors who have concocting these horrors in their laboratories - and even they find their creations a bit hard to take after a while. The rest of us are constantly obliged to endure the results of their experiments and, judging by the reactions to A Vision of Britain, the film I made with the BBC, very few people are pleased with the situation."
"It was illuminating to talk to Andres Duany, the architect of Seaside - the town on the Gulf of Mexico that was shown in the film - because he has developed his theories about a code much further, and his ideas are being viewed with growing interest all over America. His code has already been taken up, not only in some middle-class communities, but also in hard-pressed inner urban areas. It is often forgotten that the idea of a code goes back to the ancient classical world. Codes are part of our civilisation. They operated throughout Europe where Paris, Bologna, Prague, Edinburgh (in my estimation the most beautiful city in Britain), Vienna and, as I mentioned in the film, Siena were all the result of architects and builders working within an agreed framework."
"While I was carrying out the research for my film on architecture, I became increasingly aware of the failure of the current planning rules and regulations to create a better environment. [...]
It seemed to me that it might be worth looking in to this question, so I canvassed the views and advice of all sorts of people with a profound interest in the subject, and the result has been distilled into a new set of suggested ground rules. By standing back and looking at what has been happening as objectively as possible, I could see that we seem to have forgotten some of the basic principles that have governed architecture since the Greeks. Many of them are simple common sense, like the laws of grammar that create a language."
"I'm hoping to put some of these principles in to practice in Dorchester. The holiday traffic pounds through the centre of the town, so they've built, at long last, a ring road. Between the ring road and the town centre there are about 350 acres of Duchy of Cornwall land, in to which West Dorset District Council is anxious for the town ultimately to expand. They've asked the Duchy for a long-term development plan."
HRH The Prince of Wales. A vision of Britan: a personal view of architecture. Londres: Doubleday, 1989, grifos do autor.
"Just at this moment the Classicists, encouraged by the Prince's remarks, and by the success of corporate PostModern Classicism in North America, have decided to creep out of the undergrowth. They yearn to use their style to order Britain into outward seemliness, no matter what happens behind their pretty facades. They long for an agreeable congruity of taste in which cities will at least have the appearance of the eighteenth century, before nasty things like modern industry emerged. They want to hide the fact that we live in a plural, technological multicultural society with many new needs, building types and urban possibilities.
The Prince of Wales' own position is a good deal more moderate than that of some of his supporters. Though his tastes lie in the direction of Classicism, and he has a strong love of the real vernacular of old England, he is prepared to praise the odd Modern building in his hook A Vision of Britain. Rather than forcing the argument directly into one about style, he presents ‘Ten Principles we can build upon'. And, although the principles are mainly concerned with external appearance, few of us could fundamentally disagree with them. The trouble is that they are mainly illustrated with historical examples which gives the impression that they can only be achieved if we all become pasticheurs.
This issue is concerned to show that pastiche is quite unnecessary; that the principles can be and have been realised within Modernism, particularly that of recent years. And that Modernism has other things to offer, in the present for the future, which can add to and enrich the principles."
DAVEY, Peter. Without pastiche. The Architectural Review, Londres, n. 1.126, p. 21-39, dez. 1990, grifo do autor. Disponível em <http://www.architecturalreview.com/>. Acesso em: 29 set. 2015.
"Prince Charles's ‘kitchen cabinet' of advisers on matters to do with architecture and urban design includes the architect Leon Krier. Krier's complaints against modernism, as published (long-hand for special effect) in 1987 in Architectural Design Profile (no. 65) are of direct interest since they now inform public debate in Britain at both the highest and the most general level. The central problem for Krier is that modernist urban planning works mainly through monofunctional zoning. As a result, circulation of people between zones by way of artificial arteries becomes the central preoccupation of the planner, generating an urban pattern that is, in Krier's judgement, ‘anti-ecological' because it is wasteful of time, energy, and land [...]"
HARVEY, David. The condition of Postmodernity: an enquiry into the origins of cultural change. Cambridge; Oxford: Blackwell, 1990, grifo do autor.
"This period [the 1970s] essentially and concurrently marks the end of an unfettered belief in the merits of modern architecture. In 1972, the Pruitt-Igoe public housing complex in St. Louis is demolished, an event that is generally heralded by critics as the end of modern architecture and, on a larger scale, the end of modern utopian visions for the city. After the demolition of Pruitt-Igoe, the confidence in the architectural profession is severely shaken. The mood becomes pensive and the major seminal works of architecture are no longer plans but books, no longer visions but reflections. It is telling that the most noteworthy architectural manifesto of 1989, the year of the fall of the Berlin Wall and the onset of an uncontested global rule of capitalism, is A Vision of Britain by Prince Charles. The modern age prefigured in The Futurist Manifesto, at the tail end of the ottocento with its hereditary hegemonies, ironically concludes with an anti-modern manifesto written by a member of the British Royal Family."
GRAAF, Reinier de. Comment - Reinier de Graaf. The Architect's Newspaper, 10 jan. 2015, grifo do autor. Disponível em <http://www.archpaper.com/>. Acesso em: 14 out. 2015.