The icons of
prefabricated architecture explored and
projected by the European avant-garde in the early
part of the twentieth century arose from the need for quality mass
housing in a burgeoning industrialized world.
From Walter Gropius to Le Corbusier to Jean Prouvé and to their subsequent
lineages in Europe and America, the industrialization of housing established a compelling
social program for architecture.
The early
avant-garde prototypes based on industrial processes fuelled architecture’s
esteem of factory efficiency. War and postwar economies propelled
prefabrication, particularly in wartime materials in order to stimulate slowing
postwar material use. Although highly supported, producing architecture like a
Ford or a Toyota never came to fruition and evolved into research rather than
streamlined architectural production. Pascal Haussermann’s experiments in
fibreglass, Matti Suuronen’s Futuro or Ventura houses and even Richard Rogers
Zip House elucidate this peripheral course for prefabrication. Rondo housing by
Casoni and Casoni or the patented building construction by Dalgliesh John D Jr and Kisner Clinton E in the early
1970’s further exemplify architecture’s shift from modernism’s agenda.
Post-modern
visions underscored an imminent hypermobile
architecture of transposable pod clusters and aggregations. As polymer
chemistry progressed these types of product oriented building systems became
more prevalent. Glass reinforced plastic was the main material constituent of
the pod aesthetic. Socially, demographic shifts, new modes of transportation
and the space race supported the representation of agile, adaptable and
flexible future urban systems. The capsule epitomized a future where the social
fabric commanded an interchangeable architecture. Casoni and Casoni’s circular
pods in a towering megastructure completely eliminated any individualization, as
each capsule was identical to its neighbour’s.
As we consider 75 in our 100 project review we look back
to certain catalytic agents: war, urbanisation, baby boom and
industrialisation. All drew attention to prefabrication as a way of offering
more for less. This ideal substantiated modernity both in architecture and in
building culture. 75 projects seem far to few to describe the plethora of
experiments that brought industry and architects together. As we look at
today’s production we can certainly hypothesize that the 20th
century’s experiments leave few avenues for originality but a large spectrum
for innovation. In the next 25 experiments we will examine the current state of
prefabrication and its current directions.
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| Left: Building construction patent drawing - Right : Casoni and Casoni's rondo housing |
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