London Transformed: John Nash e l'ibrido progettuale

TERRITORIO ◽  
2021 ◽  
pp. 174-189
Author(s):  
Maritza Prosdocimi
Keyword(s):  

Nella prima metà dell'Ottocento i ‘London Improvements' realizzano trasformazioni urbanistiche che testimoniano un nuovo atteggiamento rispetto alla città in Europa, all'indomani del trauma delle guerre napoleoniche, nel confronto col nuovo assestamento post-bellico. Questi progetti sono da attribuire alle abilità creative di John Nash, cui dobbiamo i pioneristici lavori di Regent's Park e Regent Street, che lo consacrano come ‘architect of the Picturesque'. Qui, il Pittoresco travalica la definizione di categoria estetica, si concretizza nell'espressione architettonica e trova scenografica applicazione nella progettazione urbanistica. In quale modo e in quale fase John Nash adotta il Pittoresco e, soprattutto, quali sono le ragioni di tale scelta?

The Lancet ◽  
1885 ◽  
Vol 125 (3201) ◽  
pp. 13 ◽  
Author(s):  
Hughes Bennett ◽  
Rickman J. Godlee
Keyword(s):  

2021 ◽  
pp. 1-20
Author(s):  
Eva-Maria Griesbauer ◽  
Ed Manley ◽  
Daniel McNamee ◽  
Jeremy Morley ◽  
Hugo Spiers

Abstract Spatial boundaries play an important role in defining spaces, structuring memory and supporting planning during navigation. Recent models of hierarchical route planning use boundaries to plan efficiently first across regions and then within regions. However, it remains unclear which structures (e.g. parks, rivers, major streets, etc.) will form salient boundaries in real-world cities. This study tested licensed London taxi drivers, who are unique in their ability to navigate London flexibly without physical navigation aids. They were asked to indicate streets they considered as boundaries for London districts or dividing areas. It was found that agreement on boundary streets varied considerably, from some boundaries providing almost no consensus to some boundaries consistently noted as boundaries. Examining the properties of the streets revealed that a key factor in the consistent boundaries was the near rectilinear nature of the designated region (e.g. Mayfair and Soho) and the distinctiveness of parks (e.g. Regent's Park). Surprisingly, the River Thames was not consistently considered as a boundary. These findings provide insight into types of environmental features that lead to the perception of explicit boundaries in large-scale urban space. Because route planning models assume that boundaries are used to segregate the space for efficient planning, these results help make predictions of the likely planning demands of different routes in such complex large-scale street networks. Such predictions could be used to highlight information used for navigation guidance applications to enable more efficient hierarchical planning and learning of large-scale environments.


2015 ◽  
Vol 58 ◽  
pp. 141-158 ◽  
Author(s):  
Geoffrey Tyack

Domed rotundas have fascinated and challenged architects and engineers for the last two millennia. Examples can be found throughout the world, most commonly in religious and commemorative buildings, but also in the palaces and bath complexes of ancient Rome and in more recent government and legislative buildings. In modern times technological advances have allowed new and increasingly ambitious kinds of rotunda to be built — markets and exchanges, greenhouses and conservatories, concert and exhibition halls, sports arenas. The roots of this latter development lie in the late eighteenth and early nineteenth centuries, and one of the pioneering buildings still survives in the unexpected setting of the Royal Pavilion gardens at Brighton.The Brighton Pavilion has always been mainly associated with two people: George, Prince of Wales (the Prince Regent), who commissioned it, and John Nash, the architect who gave it its present exotic appearance. But it is easy to forget that the most distinctive features of the Nash exterior — the Indian-style domes and minarets — took their stylistic character from a building that was completed before he became involved with the Pavilion. This was the royal stables, designed by William Porden for the Prince, built in 1804–08, and now an arts complex.


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