The construction of architectural work is evidence of human skill to transform ideas into concrete actualities. Architecture exists in the real world only by the assemblage and erection of concrete materials. Buildings constructed by these materials could convey a specific meaning by structural disruption and disharmony in pieces, but unless there resides a practical usefulness, we lose our curiosity the moment its statement is understood. The building as a whole is judged by the quality of connections in its parts. It is through architecture that relies a rationale in the design of a building. Functions, forms, materials and dimensions are details of which architecture has to face. All these forces have to be met in order to create the ideal …show more content…
The spaces being created, have traces of the atmosphere and images which have been experienced by the him/her. It is with geometry that architecture is capable of defining these spaces and helping us understand them.
Whether we ask about the originality of created space like Derrida or even challenge the authenticity of that idea or space in architectural drawings, after construction, we are encouraged to acknowledge the magical power residing in a fully developed and completed creation.
Being Aware of their impact, architects create with notions on other disciplines as well. Hence there is so much to be learnt with the upcoming technologies that the probability of falling behind would constantly cast its shadow on architecture. Technological expansion has interfered the design process and today we are aided by computers with numerous software’s which have completely modified the creation of buildings by architects.
Architectural drawings and models, needn’t be constructed have value in their implicit imagination and effort, nonetheless it is the concrete representation of architecture that attracts the general
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It is through materials which ideas are concretized. As raw ingredients of art, materials only provide an atmosphere, they affect our bodies which are interwoven with our souls only through the architecture that we breathe in.
According to Hegel there resides no spiritual meaning in buildings and it is not by the spiritual subjectivity of the higher romantic arts that one could exemplify architecture, but characteristics with aspects from the symbolic art.
However, the undeniable fact that the architect designs with acquired beliefs and experiences in his/her life, results in the building having attributes to subjectivity its architect. By reading any written work, we are slightly introduced to the world of its writer, in such manner buildings can also perform as a dialogue between the architect and its users, which should be read to understand the designs objectives. The architectural creation is not made out of nothing, and consciously or unconsciously the designer uses forms from history-effective consciousness, not necessarily buildings of the past, resulting in a dialogue between forms. The progressive forms can relate and communicate to its users by this dialogue, only spoken directly through the context that they reside in and their surrounding
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
In conclusion, the debate between aesthetics and functionalism has been around for a long time. It becomes clear however, through research, that the first thing architects consider is function, and then aesthetics. It is because of this approach that aesthetics becomes somewhat of a by-product of the whole design process. By looking at examples of various buildings, it is apparent that aesthetics is important to structure and in many instances has been successfully coupled with function. But in no circumstance should aesthetics take precedence over the function and practicality of a building. It seems more likely that a happy medium between function and aesthetics can be reached, on a project by project basis, and then applied to the design process of creating the building.
On a positive note, there are designers who have accomplished what seems like the impossible and created spaces that stand timeless in their place. The Eiffel Tower, Grand Central Station, Sydney Opera House are just a few examples of spaces that provide a unique experience for the people and contribute to the identity of the city.
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.
If modernism and postmodernism are arguably two most distinguishing movements that dominated the 20th century Western art, they are certainly most exceptional styles that dominated the global architecture during this period. While modernism sought to capture the images and sensibilities of the age, going beyond simple representation of the present and involving the artist’s critical examination of the principles of art itself, postmodernism developed as a reaction against modernist formalism, seen as elitist. “Far more encompassing and accepting than the more rigid boundaries of modernist practice, postmodernism has offered something for everyone by accommodating wide range of styles, subjects, and formats” (Kleiner 810).
The book as a description of modern architecture, its styles and influence succeeds but falls short as a prescriptive methodology. His work is still recalled for the need by modernists to categorize everything into neat little boxes, not necessarily for the sake of uniformity, but for sake of some ambiguity. The ambiguity may be the triumph of this book as post modern architecture era is supposed to create more questions than the answers.
Architecture is the concept of bringing structure, materiality, form and space together as a whole, provide people with enclosed atmosphere to experience. Considering this, it is important to identify that materiality and the purpose of details has been a key methodology to bringing architectural intentions into the design in an affective manner, more over producing an architectural expression. However, this position is rather declining in architecture, reducing tectonics and materiality to being secondary to form and space. With the start of modernism, the attempt to achieve minimalistic style has caused detailing to increasingly develop into a decorative aspect of a building, neglecting its individual contribution to architecture.
The author explains architecture as an identification of place. Architecture starts with establishing a place. We define ‘place’ as a layout of architectural elements that seem to accommodate, or offer the possibility of accommodation to, a person, an activity, a mood, etc. We identify a sofa as a place to sit and relax, and a kitchen as a place to cook food. Architecture is about identifying and organizing ‘places’ for human use.
Remarkably, unlike in the description of art or music, the notion of atmosphere remains largely unaddressed in architecture. Atmosphere, can be argued, is the very initial and immediate experience of space and can be understood as a notion that addresses architectural quality, but the discussion of atmosphere in architecture will always entail, by definition, a certain ambiguity. After all, atmosphere is something personal, vague, ephemeral and difficult to capture in text or design, impossible to define or analyse. Atmosphere, Mark Wigley says, “evades analysis, it’s not easily defined, constructed or controlled”.
In conclusion, although the development of modern architecture and the intervention of computer technology to advocate this development, the contemporary architectural outcomes have became more complex and complicated with potential formulation problems. As a result, the new architecture theories came to put boundary lines between being in the range of these problems and producing elegant modern built environment. The seduction of computer-produced form also enhances architects to involve in seeking for new theories to develop the discipline and work to combine formulization with materialization. Finally, some of these theories are accepted and some other still a controversial aspect in architecture.
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.
Every person with a job, no matter what occupation, makes an impact on society in some way, shape, or form. Some people leave their legacy by defending people in court, some saving lives in a hospital, and others planning and building works of construction. These planners have a large-scale effect on everybody in society and have an eye for detail, as well as enjoy using mathematics to ensure proper construction. That is why I have chosen architecture to be my career. An architect is a person who designs buildings and supervises their construction. A broader view of an architect is a person who is responsible for inventing or realizing a particular idea or project. Architecture varies from the pillars of the Greek Parthenon, to peoples’ homes. I often find myself marveling over the design of large-scale building projects such as the skyscrapers of New York City. Most of these buildings belong to a myriad of well-known companies such as Chase and Toshiba. That is why I have particularly chosen to become a commercial architect.
Constantly judged and evolving, the practice of architecture is forever plagued by the future. The future of people, of culture, technology and its resulting implications on the built environment that more often than not, outlives their creators. Much of the conversation surrounding this future architecture currently hinges itself on the creation of new experiences, forms and spatial relationships brought about by technological innovation.
Abstract: New forms in current world have been testimony to the contemporary style of postmodern architecture and are the strength of today’s generation for creating significant architectural standards. Post modernism has blurred the borders between contemporary and traditional construction classical concepts and simply in the field of art and literature. The architectural elements like domes, arches, and classical shapes have lost their identity but the post modernism tries to bridge between these historical forms and contemporary styles. The related architects not only struggled to achieve the image for the buildings but also rejected oversimplified diagrams for living. The post modernism here tries to achieve theoretical base for their designs that creates the excitement in the design program.
The role of the architect is a question that evokes a spectrum of answers from Norman Foster’s definition; ‘Architect is an expression of values… the way we build is a reflection of the way we live.’ [Foster, cited in Tholl, 2014: Online] This debate of who and what an architect should be and do is not a recent one to emerge but has lead many architects and designers as far back as Vitruvius [15BC] to produce documentation on what they believed to be the make-up of an architect. In Vitruvius’ ‘The Ten Books On Architecture’ he quickly establishes two fragments that make an architect, the manual skill and the theory and scholarship.