reading

Alymani: 1

Name: Abdullah Ahmed Alymani

Instructor: Alastair, Stokes

Course: Architecture foundation summer studio

Date: 05/19/15

Robin Evans

Robin Evans' compositions have pulled in a developing interest amongst design researchers

around the world. Purposes of such an interest may incorporate a logical understanding in his

work and a radical move in his examination center from social issues. These issues include force

connections and profound quality in lodging and penitentiaries) to formal concerns (creation ,

projection, and configuration,). This article gives a general depiction of this development, and

spotlights on a focal crossroads in this history, a paper distributed in 1978, 'Figures, Doors, and

Passages'.

By watching the exposition nearly, it expects to investigate Evans' techniques for perception

around then and, by suggestion, previously, then after the fact. The study concentrates on two

parts of the article: an auxiliary examination of the arrangement and a manufactured utilization

of various sorts of materials. While a "linguistic" methodology is recognized in the initial, an

unexplained use of photos (and photo like points of view) of constructed structure is found in the

second.

It is suggested that Evans was utilizing not a complement of arrangements and story depictions

as asserted. However, a tripartite structure of arrangements, account canvases, and photographic

representations, the third being a primary window onto structures and vision. It uncovers a

Alymani: 2

centrality of 1978 sequentially as well as methodologically in Evans' developing examinations of

social space and visual projection.

Thanks for this Abdullah. It is a smart move to place the criticism in its temporal setting. The late 1970s

were indeed an interesting and troubling time for architectural criticism and theory. Following on from

the unfortunate criticisms of Tafuri ('end of architecture' etc etc), Evans' work I personally find to be

pleasingly forthright in its claim for the power of architecture. What I find most pleasing about it is that

acknowledges a beauty in the backdrop, rather than heaping more pressure on the discipline to shape

society, to take on more and more roles. One thing I would sat about your writing style, Abdullah, is that it

can be quite hard to read. I see that you have ideas here, but you use quite confusing syntax, which, when

coupled with words such as “exposition,” and “tripartite,” (they have very specific colloquial, if not literal

meanings) shrouds your ideas in unnecessary language.