There is something about Tony Fretton’s architecture that is not easy to capture. Something that draws us in and makes it difficult for us to detach ourselves or to forget his work. It’s something seemingly simple, that has to do with forms. Sometimes it is the way his buildings hug the ground, as if placed there directly, with no mediating elements. Sometimes it is the way his windows seem to create a natural relationship with the exterior or, more in general, the way his buildings relate with their surroundings, like actors on stage. But at the same time, it is something more complex. It has to do with the character of the forms, their incompleteness, their «calculated ambiguity».

Tony Fretton. Calculated Ambiguity

Angelo Lorenzi
2020

Abstract

There is something about Tony Fretton’s architecture that is not easy to capture. Something that draws us in and makes it difficult for us to detach ourselves or to forget his work. It’s something seemingly simple, that has to do with forms. Sometimes it is the way his buildings hug the ground, as if placed there directly, with no mediating elements. Sometimes it is the way his windows seem to create a natural relationship with the exterior or, more in general, the way his buildings relate with their surroundings, like actors on stage. But at the same time, it is something more complex. It has to do with the character of the forms, their incompleteness, their «calculated ambiguity».
Spaces of Memory. Commentaries on 21st Century Buildings
ARCHITECTURAL DESIGN AND HISTORY
9788891799432
Tony Fretton
Contemporary British architecture
Tony Fretton Architects
Red House
Fuglsang Kunstmuseum
Lisson Gallery
Tietgens Grund
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Utilizza questo identificativo per citare o creare un link a questo documento: http://hdl.handle.net/11311/1136757
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