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Although Cedrick Price built very little, his lateral approach to
architecture and to time-based urban interventions, has ensured that his work
has an enduring influence on contemporary architects and artists, from Richard
Rogers and Rem Koolhaas, to Rachel Whitbread etc. Throughout his life and
career, he remained committed to architecture as an instrument of social
improvement. The project is significant for its radical interpretation of
leisure and learning as intertwined concepts, rather than focusing on one or
the other as most of its contemporaries (which were usually conventional
buildings such as sports halls). Cedrick Prices idea of large open spaces and
movable elements is hard to live on today. Many architects are influenced in
some percentage by his work and his ideas, but due to the ‘insanity’ of the
21rst century it is hard to keep up with, meaning that other factors take place
in the design of a building such as the securitization. Securitization is a
very important aspect of our daily lives and has its place in most public
places, such as Centre Pompidou. Furthermore, in Centre Pompidou even though it
accommodates large interior spaces and celebrates the aspect of continuity and
flow, many spaces are securitized and not available to the whole public, thus
it creates ‘semi-continuity’ and not a constant flux. Moreover, Stansted
airport follows the same typology and it is visible that the image of the Fun
Palace has carried through the airport in some percentage, but due to its’
highly regulated space and securitized facilities it is unclear the connection
between Price and Foster. In addition to all the above, I believe that
architects and designers can be still influenced in the 21rst century by
Cedrick Price’s idea of flow, flux and form the same typologies but in a more
restrained way, due to the securitization of public and non-public spaces.

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