I knew architecture was right for me when I realised that designing our built world is the perfect mix between art and science.
Having had a sheltered upbringing, I always yearn for the outside world, wanting to break out and see more, to know more about those tall buildings I saw everyday through my window. That feeling only grew when I had the chance to travel and visually comprehend architecture constructions from parts of the world that define the area they belong to, for instance, the historical Edo castle, the magnificent Eiffel Tower, or the elegant Big Ben.
Seeing the work of Zaha Hadid in an architectural designs compilation had an enormous effect on me. Hadid’s Spiral Tower in Barcelona was unlike anything I have seen before; a single
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Studying A-level Art and Design has been my first chance to do art projects. Art can be spontaneous and unpredictable; my personal view is that a good work of art cannot be created without inspiration, experimentation, preparation, planning and having a clear vision of what you want to achieve. The inspirational examples of Leonardo Da Vinci or Euan Uglow demonstrated to me the need for time to be spent researching, making preparations; their masterpiece were built up step by step. I love to challenge my artistic abilities, constantly practicing different techniques and styles in my artworks, striving to create something new and different yet still based on the most basic knowledge. With ‘The Human Body’ as my current project, attending an untutored life drawing session has become my weekly activity, as I am committed to my project, eager to develop and grow as well as achieving academic and artistic success. Aside from my liking for Art and Design, I also enjoy studying Mathematics, as it provides training in logical thinking, decision making, the application of basic knowledge in solving new problems and most importantly for architecture, geometric
He suggests that the use of “electronic imaging prevents imagining and promotes thinking about architecture rather than bring architects, contractors, clients and critics to think within architecture” (275). Inspired by Frascari, the strategy of technography is encouraged (278). This is a “different way of thinking about the relationship between a [working] drawing and a future building. Rather than “simply Cartesian, technical lines showing edges, corners and joints these technographic drawings reveal both the symbolic and instrumental representations of the future building.. it is to make visible what is invisible”. Ridgway remarks, “The fact that any of this could be considered contentious indicates that extent to which architects have become alienated from the heart of their profession” (279). He asserts, “Part of any technography must be an acknowledgement of the historical context of construction knowledge. This is not only so we can better understand our rich architectural ancestry, but because it re-establishes a connection with the origins of our profession in building” (279). Rather than a “miniature projected representation of an imagined building, details are drawn as poetic constructions themselves, following the logic of drawing and not building and representing the “built detail symbolically, in addition to instrumentally. The symbolic and practical are one and the same thing” (280). “What are the symbolic qualities we are trying to embody in our buildings and how would we represent them in drawings?” becomes the question (278). These drawing “may not be easy or straightforward to understand or interpret.
Widened with amazement, my eyes watched as my fingers swirled the blobs of red and blue paint into a deep purple. The smell of tempera paint and wet wood-chips surrounded me that rainy day in the small playground of De Colores pre-school. I vividly remember feeling that astounded thrice more; first, when I roamed the aisles of Michael’s craft store for the first time, secondly, when I perfected my favorite shrimp dish, and lastly after my first psychology course. Though I have had countless positive and exciting experiences, I have also had some pretty impactful negative ones. Dropping out of high school was the biggest blessing in disguise of my life. It led to my enrollment in a concurrent enrollment program at a local community college that changed my life, through which I met some resilient people that I will always remember. Art therapy is my number one career choice and the Master of Arts in Art Therapy program at Notre Dame de Namur University
For instance, highly populous and famous cities such as Oslo, New York, Alexandria, and San Francisco hold some of the important architecture projects that have shaped individuals’ lives. Reporter David Owen, in his New Yorker article “Psychology of Space”, argues how the architecture firm Snøhetta utilizes their magic through their projects to build people’s moods, shape their relationships with cities, buildings and other individuals, and create illusions with exhilarating effects. The author’s argument is rhetorically compelling because his arrangement of ideas, selection of words, and supporting evidence maintain his public engaged in the magic of architecture and persuade anyone reading his article that architecture plays a critical role in their lives in numerous
As artists enhance their knowledge of understanding the structure of human body, human figures in their art works appear more
My present interest in art is more graphic/typography based, although I do enjoy all areas of art. I have been designing graphics on my computers from a young age and have work published in national magazines. Not all the graphical work I do is computer based, I enjoy using traditional mediums in a clean graphical way, as I find it more satisfying working on a larger scale and producing something more "real". My current course has helped me "branch out" more; I have experimented in many disciplines successfully producing paintings, pastels and drawings, which I had never really developed fully before.
"Gravity-defying", "fragmentary" and "revolutionary" are a few of the words used to describe Zaha Hadid's architectural designs. The Iraqi-born, London-based architect has stirred up continual controversy with her designs that defy a label in the Modern vs. Post-Modern architectural debate. In the past 15 years, she has gone from unknown student to "architecture's new diva" as the title of the January 1996 Architectural DigestUs profile suggested. Her work has been accepted as a significant contribution to architecture and her style is one that other architects now emulate.
People are made of complexities and contradictions. Venturi recognized that buildings should be complex and complicated, too. He theorized and built buildings inspired by this principle, and succeeded because of his emphasis on individual experience and the interaction between humanity and architectural forms. In pursuit of this goal, his pluralist and revolutionary style of architecture embraced difference and ambiguity and rejected the rigid rules of modernism. While undoubtedly influenced by Venturi’s ideas, later postmodern architects failed to live up to his principles by forming their own inflexible rules and not concentrating on the human experience with buildings.
Over the last four years of studying architecture, I have seen the power that it has to shape communities, shape lives, and to create new ways that people interact with each other. The way architecture can help enhance living and allow for creation of new interactions of people is one of the reasons I find the subject so interesting. The way architecture can shape a whole culture and the way that the culture then in turn shapes the architecture is fascinating to me. Architecture is also not a static subject, it is constantly evolving and adapting with time to take on new forms, create new spaces, and to provide commentary on the history of our time on Earth. The depth that architecture has, and the evolution of the subject is something I have fallen in love with through my study of it. However, when I first started out studying architecture, I had no idea of the depth that the subject had, and it was an incredibly daunting realization; however, it was as equally exciting. I have always had a love for learning and architecture has just fueled that fire. Even after completing my bachelors degree, the learning has not stopped. I get to learn something new about architecture daily, and getting to say that is an opportunity I am thankful to have. It is not just about the learning however, its
Renzo stated in an interview, “Architecture is about exploring. Culturally, historically, psychologically, anthropologically, and topographically, every job is different.” Renzo is particularly well known for adapting designs to their location. He later went on to say “(architecture) should make a contribution to the contex. … you must employ a homeopathic process, ... you can easily destroy their (cities) subtle dynamics” (Archinect, 2006).
This quarter of Life Drawing was my first real experience drawing the body from life or otherwise besides drawing fashion croquis. To say that any previous attempts to draw the body were unsuccessful would be a major understatement, so I was both excited for and dreading this class. During the first several weeks, I doubted that I would be able to even complete any of the projects- with or without time restrictions- and certainly not complete them to the standard that I am used to producing. Both fears proved to be well-founded, as I struggled with both meeting deadlines and producing work that I would not be too ashamed to turn in. I cannot say that I am necessarily proud of the work I have produced so far, but I am happy to see my improvement
Buildings reflect the values and ideas of society within periods. The role of architecture in shaping society and vice versa largely depends on the period in question and who or what affects first. The Enlightenment, and the subsequent period the Post-Enlightenment, reflect the biggest change for current ideas regarding architecture and society and current theories. At the same time, individual identities and understanding of society, progress and truth all follow a similar evolving path. It is during this dramatic shift in thinking that the role of architecture to society and the idea of progress and truth becomes a more complex relationship. How this relationship works and its implications is based on the theory that there is a direct link between the two. One cannot develop without the other. Who leads whom and to what extent they influence each other is evident in architectural trends and pioneering works by architects such as Robert Venturi, Frank Gehry amongst others.
Behind every architectural work there is an architect, whether the architect is one man or woman, a small group, or an entire people. The structure created by any of these architects conveys a message about the architect: their culture, their identity, their struggles. Because of the human element architects offer to their work not just a building is made, but a work of art, a symbol of a people, a representation, is also created.
In Laugier’s book, “An Essay on Architecture,” he addresses early architects’ ignorance. Laugier explains how architects did not study nature and the set rules nature has already created for us. In his Essay, he reveals the flaws that many early buildings throughout Europe posses. Some of the more general flaws he exposes are disproportioning in architectural design, unnecessary placement, and ignoring the primitive and original purpose of a building all together. Therefore, Laugier believes appropriate and appealing architecture can only be designed and crafted when the architect behind the building has followed the rules of nature.
However, architecture is not just the future, after all, buildings are intended to be viewed, traversed and lived by us, people. Despite this, many architects today rarely think deeply about human nature, disregarding their main subject matter in favour for efficiency and an architecture of spectacle. In this there seems to be a misconception that underlies much of architecture, that is, human’s relationship with the city, the building and nature. In much of today’s architecture, people are treated with as much concern much as we treat cars, purely mechanically. The post-modern search for the ‘new’ and ‘novel’ has come to disregard the profound affect design has on our lives, impacting our senses, shaping our psyche and disposition.
In the art community there is a lot of controversy in distinguishing what the difference between an artist and a designer. Designers are told they are not artist and they need to stop thinking they are artist. When dealing with art and design specific demographics and viewers interpret the messages of each subject in different ways. Art is said to be elucidated and design is said to be understood. Artists usually develop a work of art with the intention of bringing an emotion viewpoint, instinctive feeling, and or state of mind. When you look at an artist work it cannot be limited to just exhibiting one individual thought or just one individual meaning. That is a big difference when it comes to graphic design. Graphic design usually has a very specific goal and point to make. When dealing with graphic design there should not be any room or space for any mixed messages or multiple meanings. The audience of the design should immediately understand the design that the designer created. Art connects to people differently in so many ways. The only reason it connects to people in different ways is only because it is interpreted differently.