Orders and Ordonnance: the Carrée d’Art of Norman Foster in Nimes

Authors

  • Anna Irene Del Monaco

Abstract

This article attempts to discuss the significance of architectural orders in contemporary architecture, by applying our conclusions to the design of the Centre of Contemporary Art (Carrée d’Art) in Nimes, built by Norman Foster in 1993. This building, in the way it has been designed, encapsulates some basic questions surrounding the idea of order in architecture: from the classical orders of the Maison Carrée, to which it can be genetically compared, to its own design concept. In his design project, Norman Foster in effect employed in his design project the classical language of the historical monument and adapted it to the formal rules of contemporary architecture, showing that order is the development of a formal solution of an architectural organism.

 

References

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Mario Lupano, Il Foster di Nîmes e il Carré d’Art, n. 79, Lotus International, 1993.

Hannes Meyer, Wie ich arbeite. Manoscritto in lingua tedesca pubblicato in Léna Meyer Bergner, “Arhitektura CCCP 6â€, Moscow, 1933. pp.100-104. La traduzione italiana è curata da Francesco Dal Co, Hannes Meyer, Architettura o Rivoluzione, Padova 1969, pp. 123-127.

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Alberto Perez Gomez, Preface, Claude Perrault, Ordonnance for the five kinds of columns after the method of the Ancients, The Getty center for the History of Art and the Humanities, 1993, p. 32, 35, 36.

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Published

2015-07-31

Issue

Section

L'Architettura delle città-The Journal of Scientific Society Ludovico Quaroni

How to Cite

Orders and Ordonnance: the Carrée d’Art of Norman Foster in Nimes. (2015). L’architettura Delle città  - The Journal of the Scientific Society Ludovico Quaroni, 3(6). http://architetturadellecitta.it/index.php/adc/article/view/64