One he considered the program in temporal terms, and

One of his most evolutionary and
ambitious projects is the well know ‘Fun Palace’ which unfortunately was never
built. The visionary project was intended to be constructed in 1961 on the
banks of the Thames for the liberal
theatre director Joan Littlewoods. The Fun Palace was a proposal for an alternate
educational leisure center that was intended to accommodate numerous
programmatic and spatial reconfigurations introduced by its occupants.
Littlewoods imagined the Fun Palace as an imaginative and productive opening
for this anticipated windfall of leisureliness. Moreover, she believed that the
design of the Fun Place was a way to introduce to the British community innovating
experiences and  chances of enduring
learning and discoveries. Her vision included a theatre where the audience is
the dominant element of the design concept, are also players combined both well
with Cedrick Price’s architectural idea of a cooperative and ever-changing setting
which would stand as a “laboratory of fun”, featuring moving walls and floors, collaborating
panels and while also an “expandable conference center”. Cedric considered the ‘theatrical’ concept as a problem
not of motionless and compact ‘structure’.  Even though it was never comprehended, unlike
other influential projects of the 1960s it was fully envisioned to be constructed.
Furthermore, approaching
the design and the concept of the Fun Palace, Cedrick Price started by thinking
and considering Joan Littlewoods’s ‘theatrical’ concept as an interesting
problem to solve and not as a stagnant and solid building, but in terms of a different
and new kind of dynamic and vibrant architecture which would allow numerous facilities
and would be able to continuously adjust to change. Continuously, It would
allow be a network of multiple functions and uses, a space of alternation between
non harmonized events. The spaces would have been boundlessly varied in size,
shape, lighting and accessibility. Rather than seek design ideas from the
conventional repertoire of modernist objects and spaces, he considered the
program in temporal terms, and sought the solution within the problems it
posed. The Fun Palace would have been  a project
whose concept and brief was frequent alteration, which allowed various and unspecified
uses and functions. His designs started to describe and refer to a constant
adapting  architecture of continuous functions,
in a endless process of construction, disassembling, and reassembly. It would
be a immense framework where the working – class community of East London could
gather their own learning knowledge  and
leisure environments, where Littlewoods’s vision might be possibly understood,
where the public could escape from the daily routine and ongoing presence and board
on a journey and an idea of imagination, creativity and individual expansion. Cedrick
Price imagined the Fun Palace regarding the process, as functions in time
rather than objects and solids in and open space, and celebrate uncertainty as
a primary design principle and concept.

One of his most evolutionary and
ambitious projects is the well know ‘Fun Palace’ which unfortunately was never
built. The visionary project was intended to be constructed in 1961 on the
banks of the Thames for the liberal
theatre director Joan Littlewoods. The Fun Palace was a proposal for an alternate
educational leisure center that was intended to accommodate numerous
programmatic and spatial reconfigurations introduced by its occupants.
Littlewoods imagined the Fun Palace as an imaginative and productive opening
for this anticipated windfall of leisureliness. Moreover, she believed that the
design of the Fun Place was a way to introduce to the British community innovating
experiences and  chances of enduring
learning and discoveries. Her vision included a theatre where the audience is
the dominant element of the design concept, are also players combined both well
with Cedrick Price’s architectural idea of a cooperative and ever-changing setting
which would stand as a “laboratory of fun”, featuring moving walls and floors, collaborating
panels and while also an “expandable conference center”. Cedric considered the ‘theatrical’ concept as a problem
not of motionless and compact ‘structure’.  Even though it was never comprehended, unlike
other influential projects of the 1960s it was fully envisioned to be constructed.
Furthermore, approaching
the design and the concept of the Fun Palace, Cedrick Price started by thinking
and considering Joan Littlewoods’s ‘theatrical’ concept as an interesting
problem to solve and not as a stagnant and solid building, but in terms of a different
and new kind of dynamic and vibrant architecture which would allow numerous facilities
and would be able to continuously adjust to change. Continuously, It would
allow be a network of multiple functions and uses, a space of alternation between
non harmonized events. The spaces would have been boundlessly varied in size,
shape, lighting and accessibility. Rather than seek design ideas from the
conventional repertoire of modernist objects and spaces, he considered the
program in temporal terms, and sought the solution within the problems it
posed. The Fun Palace would have been  a project
whose concept and brief was frequent alteration, which allowed various and unspecified
uses and functions. His designs started to describe and refer to a constant
adapting  architecture of continuous functions,
in a endless process of construction, disassembling, and reassembly. It would
be a immense framework where the working – class community of East London could
gather their own learning knowledge  and
leisure environments, where Littlewoods’s vision might be possibly understood,
where the public could escape from the daily routine and ongoing presence and board
on a journey and an idea of imagination, creativity and individual expansion. Cedrick
Price imagined the Fun Palace regarding the process, as functions in time
rather than objects and solids in and open space, and celebrate uncertainty as
a primary design principle and concept.

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